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SWEDISH  FOLK 
DANCES 


BY 


NILS   W.  BERGQUIST 

INSTRUCTOR  OF  PHYSICAL  CULTURE 
NEW  YORK  PUBLIC  SCHOOLS 


INTRODUCTION    BY 

C.   WARD    CRAMI'TON 

DIRECTOR   OF   PHYSICAL   TRAINING 
SEW   YORK   PUBUC  SCHOOLS 


NEW   YORK 

THE  A.  S.   BABNBS   COMPANY 

1910 


Copyright,  1910, 

BY 

THE  A.  S.  BARNES  COMPANY 


*v 


INTRODUCTION 


It  is  significant  that  the  folk  dance  has  come  to  fill  a  large  place  in  the  life  of 
the  people  of  the  city.  Country  men  and  women  coming  to  the  town  have  left  behind 
them  the  dances  that  have  formed  part  of  their  lives  and  much  of  their  pleasure,  be- 
cause city  conditions  were  different  and  country  traits  unbecoming.  Our  own  coun- 
try dances  "The  Lady  of  the  Lake,"  "Hi!  Jim  Along, "and  even  the  "  Virginia  Reel " 
have  not  survived  a  separation  from  their  birthplaces. 

Foreign  people  coming  to  our  cities  form  closer  groups,  and  during  times  of 
festivity  the  emotions  arising  from  old  associations  seek  expression  in  the  old  dances. 

The  old  rhythms  of  folk  dances  are  common  to  all  human  life.  Many  genera- 
tions of  city-dwelling  cannot  do  more  than  cover  thinly  the  innate  tendencies  to 
dance  the  old  forefather  dances  of  the  sod,  mountain,  or  steppe.  It  needs  but  the 
music  and  festal  occasion  to  fling  off  newly  acquired  restrictions  which  overlie  the  pure 
rustic  humanity  of  man. 

Thus  the  folk  dance  has  come  to  signify  the  revival  of  the  expression  of  old 
fundamental  rural  impulses,  pure  and  lovely  as  the  sunshine  of  the  fields. 

The  general  European  revival  and  our  own  use  of  the  folk  dance  is  an  expres- 
sion of  this  deep-rooted  longing.  In  New  York  City  dancing  has  taken  its  legitimate 
place  in  the  education  and  recreation  of  the  children  in  the  schools.  There  the  dances 
have  lightened  the  formal  gymnastics  with  a  natural  interest,  and  have  returned  large 
values  in  a  normal  joyous  expression  of  fundamental  impulses. 

So  few  city  recreations  are  not  manufactured  that  the  genuine  is  rare  and  is  to 
be  valued  accordingly.  This  volume  of  folk  dances  taken  from  Swedish  sources  and 
Bympatlit-ti.  ally  translated  for  American  use  by  Mr.  Bergquist  is  genuine  and  cannot 
fail  to  receive  the  large  appreciation  it  deserves,  for  he  has  danced  them  as  his  fore- 
fathers did  in  Sweden  itself. 

C.  Ward  Crampton, 
Director  of  Physical  Training 

New  York  Public  Schools 


281524 


PREFACE   TO   FIRST  EDITION 


This  book  is  in  the  main  a  translation  of  a  publication  by  the  society  ' '  The 
Friends  of  Swedish  Folk  Dances  "  in  Stockholm,  and  in  presenting  it  we  hope  that  a 
long-felt  want  may  be  filled. 

The  dances  are  arranged  in  a  progressive  order  from  the  simple  and  easy  to 
the  more  complicated. 

Because  of  the  fact  that  certain  steps  and  dances  are  perfectly  familiar  to  the 
Swedish  people,  no  special  description  of  these  steps  and  dances  is  made  in  the  Swedish 
edition,  while  in  the  translation  they  are  fully  explained. 

The  description  of  the  Fjallnas  Polska  has  never,  to  my  knowledge,  appeared 
in  print  and  is,  therefore,  as  given  in  this  book,  original. 

As  near  as  possible  the  Swedish  text  has  been  closely  followed,  and  only  such 
deviations  therefrom  are  made  as  were  found  absolutely  necessary  in  order  to  make 
the  text  intelligible  to  English  readers. 

To  Mr.  J.  Blake  Hillyer,  who  has  carefully  read  and  criticised  the  translation,  I 
am  greatly  indebted  for  many  valuable  suggestions  which  have  been  embodied  in  this 
translation  with  a  view  to  making  the  descriptions  easily  understood  without  the  aid 
of  an  instructor. 

Nils  W.   Bergquist. 

Tompkinsville,  New  York. 


PREFACE  TO   SECOND   EDITION 


In  preparing  the  second  edition  of  this  book  for  print,  especial  care  has  been 
taken  to  describe  more  explicitly  the  various  steps  in  the  dances. 

The  descriptions  of  the  steps  are  arranged  in  alphabetical  order. 

The  order  of  the  dances  has  been  re-arranged,  as  it  was  found  that  certain  dances 
were  more  easily  taught  than  at  first  assumed. 

The  illustrations  are  of  pupils  in  public  schools  of  Richmond  borough,  New 
York  City. 

Nils  W.   Bergquist. 
Tompkinsville,  New  York. 


CONTENTS 

Foreword viii 

Explanation  of  Tkkms ix 

Steps x 

The  Skaningokthe  Stop 1 

KJiuExroe 2 

I    \DiTA — Lott'  1st  Todt 3 

v  Taxtoki 4 

Thk  Kii.i 5 

>m  iikhoc'k c 

Gtotatus'  Toast 7 

xC'i.Ai'  Dana  1 8 

Thk  Ski  bo  Dance 9 

Vaksoviknne 11 

Tumi    Mi\  PoLBXl 13 

>*    The  Oxin  Dawk 15 

Ostoota  Pouxi 17 

SciiorriM  iik 20 

Fkvkdai.  I'oiska 28 

Tiik  Skan.sk  a  (^iaiikiii  k 26 

Wkawm.  Dam  i: 89 

l.iAi  1  n w  I'oiska 82 

GoTTI.ANI)    QlADKII.I.K 84 

Dai    Damk 89 

Thk  II  \ii  im. 48 

\'iM,\ki:i!  Damk 46 

Thk  Skku  at ">o 


FOREWORD 


The  dances  in  which  the  peasant  people  in  almost  all  countries  in  Europe  find 
the  most  enjoyable  means  of  exercise  and  of  giving  expression  to  old  folk  lore  are 
known  under  the  name  of  "folk  dances." 

With  the  advance  of  modern  civilization,  much  of  that  which  formerly  served  to 
characterize  certain  occupations,  people,  or  localities  is  fast  disappearing.  For  instance, 
machinery  has  supplanted  the  old-fashioned  way  of  weaving  by  hand.  In  the  Swedish 
"weaving  dance "  the  figures  represent  the  old  style  of  weaving,  and  by  the  preserva- 
tion of  dances  of  this  sort  the  present  is  still  connected  with  the  past. 

The  present  generation  is  always  interested  in  the  past,  since  the  past  forms  the 
foundation  upon  which  the  present  one  is  building. 

That  there  exists  such  a  rich  supply  of  Swedish  folk  dances  is  probably  due  to 
the  fact  that  a  revival  of  these  dances  took  place  about  thirty  years  ago. 

In  the  period  1870-1880  a  great  deal  of  criticism  was  made  in  Sweden  about  the 
so-called  "modern  dances."  They  were  considered  unesthetical.  Particularly  were 
the  waltz  and  polka  criticised,  because  they  were  danced  with  little  consideration  for 
grace  or  rhythm. 

Then  the  students  of  the  university  in  Upsala  organized  a  society  named 
"Philocoras, "  the  object  of  which  was  to  study  the  art  of  dancing  as  far  back  as  the 
Greek  and  Roman  era.  The  society  engaged  a  dancing  teacher  to  give  free  instruction 
to  those  who  wished  to  learn  dances  according  to  the  simplicity,  grace,  and  rhythm  of 
the  ancient  method.  The  public,  however,  gave  very  little  encouragement  to  the  work, 
and  after  a  few  years  of  ' '  struggle  for  life  "  the  organization  ceased  to  exist. 

Some  members  of  the  former  society  then  attempted  to  revive  the  old  folk  dances. 
A  few  students  were  sent  to  different  parts  of  Sweden  in  an  endeavor  to  obtain  the 
material  for  these  dances.  Their  work  was  difficult,  as  some  of  the  dances  had  pretty 
nearly  passed  into  oblivion.  In  some  places  was  found  only  an  old  ' '  fiddler, "  who 
still  remembered  the  dance,  music,  and  original  costume  of  the  locality.  However,  the 
students  collected  considerable  material,  and  when  the  first  presentation  of  these  dances 
was  given  at  a  charity  bazaar  in  the  Royal  Opera  House  in  Stockholm,  it  was  a  pro- 
nounced success. 

Since  then  numerous  societies  have  been  organized  all  over  the  country  to  fur- 
ther advance  the  interest  in  folk  dances. 

These  dances  now  form  one  of  the  most  attractive  features  of  the  exhibitions  at 
the  unique  out-door  museum,  l '  Skansen, "  in  Stockholm,  where  they  will  remain  safe- 
guarded and  treasured  as  one  of  the  most  interesting  parts  of  Sweden's  cultural  history. 

Nils  W.   Bebgquist. 


EXPLANATION   OF   THE   TERMS   USED   IN 
THE  DESCRIPTION  OF  THE  DANCES 


1.  The  reprise  of  the  music  and  division  of  measures  are,  when  necessary,  de- 
scribed at  the  beginning  of  each  dance. 

2.  Numbers  within  parentheses  correspond  with  the  numbers  of  the  measures 
in  the  music  and  indicate  in  what  measures  various  steps  and  figures  are  danced. 

3.  Formation  is  the  position  in  which  a  couple  is  placed  at  the  beginning  of 
a  dance  (not  at  the  beginning  of  any  certain  figure). 

4.  Front  means  the  front  of  the  stage  as  seen  by  an  audience. 

5.  In  place  means  in  the  position  where  the  dancer  is  standing. 

6.  String  is  a  term  given  when  several  couples  take  hands  forming  a  continuous 
line  without  forming  a  ring. 

7.  Chain  is  the  formation  in  which  the  dancers  when  passing  each  other  take 
hands,  as  in  the  ' '  grand  chain. " 

8.  Arch  is  formed  by  a  couple  holding  each  other's  hands  and  raising  their  arms 
bo  that  others  may  pass  under  them. 

9.  Road  is  a  continuous  row  of  arches. 

10.  Dancing  around  is  done  by  two  persons  only,  taking  hands  or  taking  hold 
of  each  other  as  may  be  indicated  and  making  one  or  more  complete  turns. 

In  iliiin-iiiif  around,  when  gentleman  and  lady  are  directly  facing  each  other, 
beginning  with  left  and  right  foot  respectively,  each  turn  is,  unless  otherwise  specified, 
about  three  eighths  of  a  circle  and  is  done  "clockwise,"  i.e.,  in  the  direction  the  hands 
of  a  clock  turn. 

11.  Ring  dance,  on  the  contrary,  is  done  by  several  persons,  who  then  gener- 
ally hold  each  other's  hands  and  dance  with  short  running  steps.  Ring  dance  is  done 
"clorkwi-.-. " 

IS.  Thumb-grasp.  A  couple  standing  side  by  side,  facing  in  opposite  direc- 
ts >ns,  grasp  the  nearest  hand  by  the  thumb,  with  arm  bent,  elbow  downward,  and  thumb 
pointing  upward. 

18.   Pancake  turning  is  described  in  the  second  figure  of  the  Dal  dance. 

14.   Appel  is  a  stamp  of  the  foot. 

(This  *ign  A  '"  the  music  indicates  the  appel.  ) 


STEPS 

1.  Bleking  steps  are  danced  in  place,  thus:  With  a  jump  both  feet  are  placed 
on  the  floor  at  the  same  time,  left  foot  ahead  of  the  right;  with  another  jump  the  feet 
change  place,  etc.     Unless  otherwise  specified,  the  lady  also  begins  with  left  foot. 

2.  Chassez  steps.     Gliding  steps  in  any  direction. 

3.  Dal  steps  are  danced  in  %  measure,  thus:  (l)  Right  foot  is  placed  on  the  floor, 
(2)  left  foot  with  the  toes  pointing  downward  is  swung  diagonally  forward  to  right 
side,  (3)  and  is  then  moved  toward  its  starting-place  (l),  where  at  the  beginning  of  the 
second  measure  it  is  placed  on  the  floor  (2)  and  the  right  foot  in  the  same  manner  as 
described  for  the  left  is  swung  diagonally  forward  to  the  left  side  (3)  and  again  re- 
placed, etc.  As  the  swinging  foot  reaches  its  highest  point,  the  dancer  raises  himself 
somewhat  on  the  toe  of  the  other  foot  with  a  light  hop  forward.  This  raising  on  the 
toe  is,  however,  quite  slight  in  the  Dal  dance,  while  in  the  Skralat  and  Vingakers 
dances  it  is  more  marked,  so  as  to  give  a  livelier  appearance  to  these  dances. 

4.  Fall-out  steps  are  described  in  the  second  figure  of  the  Frykdal  polka. 

5.  Frykdal  steps  are  similar  to  Polka-mazurka  steps,  and  the  knee  upward  bend- 
ing is  always  done  with  the  left  knee  first. 

6.  Gottland  steps  are  used  only  in  dancing  around  in  4-  measure,  thus:  (1) 
With  a  jump  both  feet  are  placed  at  the  same  time  on  the  floor,  left  foot  ahead  of  the 
right;  (2)  the  dancer  remains  in  this  position  one  quarter  of  a  measure,  (3)  then  the 
right  foot  is  placed  ahead  of  the  left;  (4)  the  dancer  remains  in  this  position  one  quar- 
ter of  a  measure;  (l)  with  another  jump  both  feet  are  placed  on  the  floor  at  the  same 
time,  left  ahead  of  the  right,  etc.  When  couples  are  facing,  gentleman  and  lady  stand 
a  little  to  the  left  of  each  other,  in  order  that  both  may  begin  with  left  foot  ahead. 

7.  Hambo-polska  steps  are  danced  in  I  measure,  thus:  (l)  Bending  right 
knee,  the  left  foot  is  placed  forward  with  an  appel;  (2)  hop  and  pivot  on  left  foot  about 
seven  eighths  of  a  circle;  (3)  right  foot  is  placed  about  one  step  straight  sideways  from 
left  foot.     Again  left  foot  is  placed  forward,  etc. 

Lady  bends  left  knee  and  steps  backward  with  right  foot  (l),  then  hops  and 
pivots  on  right  foot  (2),  and  places  left  foot  about  one  step  sideways  from  right  foot  (3). 
Again  steps  backward  with  right  foot,  etc.  Gentleman's  hands  at  lady's  waist  and 
lady's  hands  on  gentleman's  shoulders. 

8.  Hop  steps  are  used  only  in  dancing  around  in  I  measure,  thus:  (l)  With  a 
jump  both  feet  are  placed  on  the  floor  at  the  same  time  with  an  appel,  the  heels 
together;  (2)  then  the  right  foot  is  placed  on  the  floor  slightly  forward,  while  the  left 
leg,  with  slightly  bent  knee,  is  swung  to  the  right  backward;  (3)  then  the  left  foot  is 
placed  on  the  floor  and  the  right  leg  swung  to  the  left  backward;  (l)  with  another 
jump  both  feet  are  placed  at  the  same  time  on  the  floor,  etc.  Lady  and  gentleman 
stand  a  little  to  the  left  of  each  other. 

9.  Jig  steps  or  sailor  steps  are  similar  to  the  step-hop-waltz  but  are  danced  in 
\  measure,  on  toes  and  with  a  swaying  of  the  body  toward  the  side  where  the  foot  is 
placed  on  the  floor,  thus:  (l)  Step  forward  left  foot,  (2)  hop  on  left  foot;  (3)  step 
backward  right  foot,  (4)  hop  on  right  foot,  etc.  At  each  hop  turn  to  the  right.  When 
danced  by  couples,  the  lady  steps  in  following  order:  3,  4,  1,  2,  etc. 

10.  Kicking  steps  are  danced  in  place  and  are  similar  to  the  running  steps  ex- 
cept that  the  feet  are  swung  forward  with  straight  knees,  instead  of  the  ordinary  lift- 
ing of  the  feet  behind  in  running. 


11.  Old  Swedish  waltz  steps  are  danced  thus:  A.  (1)  Left  foot  is  placed 
forward:  (l)  touch  toe  of  right  foot,  heel  high,  behind  left  heel,  at  the  same  time  bend- 
ing knees;  (3)  lift  left  foot  and  replace  it,  turning  to  the  right.  B.  (l)  Right  foot  is 
placed  backward;  (2)  touch  toe  of  left  foot  behind  right  heel,  bending  knees;  (3)  lift 
right  foot  and  replace  it,  turning  to  the  right,  etc.  When  danced  by  couples  facing 
each  other,  lady's  first  step  is  as  described  in  "B." 

12.  Ostgota  steps  are  danced  in  f  measure,  thus:  A.  Ordinary  change  step, 
beginning  with  left  foot,  on  the  first  and  second  beats  of  each  measure.  B.  One  step 
forward  with  the  right  foot  on  the  third  beat  in  each  measure.  When  danced  by  coup- 
les facing,  lady  and  gentleman  stand  a  little  to  the  left  of  each  other. 

13.  Pas-de-basque  steps  are  danced  in  $  measure,  thus:  (l)  Step  obliquely 
forward  with  right  foot;  (2)  step  in  the  same  direction  with  left  foot,  lifting  right  foot 
and  slightly  bending  left  knee;  (3)  replace  right  foot.     Repeat,  beginning  left,  etc. 

14.  Polka-mazurka  steps  are  danced  in  i  measure,  thus:  (l)  Left  (right)  foot 
is  lifted  with  a  knee  upward  bending  and  placed  forward  on  the  floor  with  an  appel; 
(2)  the  right  (left)  foot  is  quickly  placed  behind  the  left  (right)  foot;  (3)  then,  while 
the  left  (right)  knee  i3  bent  upward  for  another  step,  one  hop  is  made  on  the  right 
(left)  foot,  etc 

15.  Running  steps.     Ordinary  running  steps. 

16.  Schottische  steps  are  danced  in  \  measure,  thus:  A.  (l)  Ordinary  change 
step  forward,  beginning  with  left  foot  (1,  2,  3)  turning  to  the  right;  (2)  hold.  B.  (1) 
Change  step  backward,  beginning  with  right  foot  (l,  2,  3)  turning  to  the  right;  (2) 
hold,  etc.     When  danced  by  couples  facing  each  other,  lady's  first  step  is  as  in  B. 

17.  Skralat  steps  are  danced  in  i  measure.  Ordinary  change  steps  in  slow 
time,  both  lady  and  gentleman  beginning  with  left  foot. 

18.  Step-hop-waltz  steps  are  danced  in  i  measure,  thus:  A.  First  beat  step 
forward  left  foot,  second  beat  lift  right  foot  and  left  heel,  third  beat  hop  on  left  foot, 
turning  right  B.  Next  first  beat  step  backward  right  foot,  second  beat  lift  left  foot 
and  right  heel,  third  beat  hop  on  right  foot  turning  right,  etc.  When  danced  by 
couples  facing  each  other,  lady's  first  step  is  as  described  in  B.  These  steps  may  be 
danced  to  *  measure.  Then  step,  heel  raising  and  hop  are  made  on  each  beat.  As 
these  three  movements  thus  must  follow  each  other  in  rapid  succession,  it  is  easier  to 
substitute  ordinary  "step  hop,"  omitting  heel  raising  as  a  separate  part  of  the  step. 

19.  Stride  knee  bend  steps  (jumping  jack)  are  danced  in  place,  thus:  With 
a  jump  both  feet  are  placed  on  the  floor  at  the  same  time  in  stride  position  (with  feet 
wide  apart),  toes  turned  out  and  knees  bent;  at  the  same  time  the  arms  are  swung 
sideways  with  hands  closed  and  knuckles  turned  backward.  When  several  stride 
knee  bend  steps  are  danced  in  succeswion,  the  dancer  takes  a  jump  to  starting  posi- 
tion on  third  beat  of  each  measure  and  at  the  same  time  brings  the  closed  hands  to  chest. 

20.  Swedish  polka  steps  are  danced  in  J  measure  and  air  similar  to  schot- 
tische steps  except  that  instead  of  holding  the  step,  a  hop  is  made  on  the  foot. 

IL  Vingaker  Steps  an- daiK.'.l  in  j  measure,  thus:  (1)  Following  a  quick  knee- 
bending,  the  dancer  jumps,  landing  in  place,  knees  straight,  feet  in  stride  position,  (2-3) 
thru  turn-  completely  around  to  the  left,  on  toes  of  the  right  foot,  and  jumps  forward, 
(1)  landing  on  both  feet  on  the  floor  at  the  same  time,  feet  wide  apart,  and  knees 
straight,  (2)  remains  in  thin  i>osition,  (8)  then  brings  the  feet  together  with  a  knee- 
bending:  tli.-n  the  above  is  repeated,  etc. 

•i-i.  Walking  steps.     Need  no  description. 


•  •  •••••< 

•  •••„••    •  • 
••     *     •    •      • 


.-....' 


DANCES 


THE   SKANING  OR  THE   STOP 

Music  ||  1-8  ||  9-16  || 

This  dance  is  danced  with  Swedish  polka  steps.  The  couple  stops  with  an  appel 
at  the  tenth  and  twelfth  measures,  and  then  continues  the  dance  with  the  next  meas- 
ure; this  is  also  indicated  by  the  music. 


iB^ 


— 


^ 


■• — 0- 


*-\ 


li  •  U  iLf 


-*—■ + 


•   • 


L   t   ^   *« 


P       9 


mm 


t- '  J\'  *M  U  ^ 


fio 


*    * 


<>'r  r  \'"  l,ff  iJf  li   i  I'    H 


BLEKING 

Music  ||  1-8  ||  9-16  || 

Gentleman  and  lady  take  each  other's  hands,  and  dance  in  place  in  time  with  the 
music  two  long  Bleking  steps,  first  step  with  left  foot  ahead  (1),  then  two  smaller, 
quicker  steps,  followed  by  a  long  step  (2).  Arm  forward  with  foot,  opposite  arm  back- 
ward, elbow  bent,  this  is  repeated  three  times  (3-8);  then  the  couple  waltzes  with  Jig 
steps,  the  gentleman  placing  right  arm  around  the  waist  of  his  partner  and  holding  her 
right  hand  out  in  his  left  (9-16).     Repeated  at  will. 


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Music  ||  1-8  ||  9-16  || 

The  gentleman  places  his  right  arm  around  the  waist  of  the  lady  and  takes  her 
right  hand  in  his  left  The  arms  held  horizontally.  The  couple  takes  four  long,  slow, 
chassez  steps  forward,  the  gentleman  with  left,  the  lady  with  right  foot  (1-2)  and  re- 
turns with  eight  quick  steps  to  the  starting  place  (3-4).  Repeated  (5-8)  after  which 
the  couple  waltzes  step-hop  tcaltz  (9-16).  When  several  couples  take  part  it  is  usual  to 
form  a  riug  which  during  the  dance  is  preserved  and  the  steps  forward  are  then  taken 
toward  the  centre  of  the  ring. 


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TANTOLI 

Music  ||  1-8  ||  9-16  || 

The  gentleman  places  his  right  arm  around  the  waist  of  his  partner  and  she 
places  her  left  hand  on  his  shoulder,  their  free  hands  on  their  hips.  The  gentleman 
steps  forward  with  his  left  foot  and  the  lady  with  her  right  foot  with  toes  raised,  then 
they  step  backward  with  heel  raised  (l),  then  forward  again,  beginning  with  same  feet 
in  front,  two  steps  and  halt  (2).  The  'gentleman  then  steps  forward  with  right  and 
the  lady  with  left  foot  one  step  with  toes  raised,  same  feet  backward  with  heel  raised 
(3),  take  two  steps  forward  and  halt  (4).  The  same  is  repeated  (5-8).  Then  the 
couple  waltzes,  step-hop  waltz,  the  gentleman  with  both  hands  at  the  waist  of  his  part- 
ner, and  she  with  both  hands  on  his  shoulder  (9-15).  Then  the  gentleman  lifts  her 
over  to  his  right  side  (16),  and  the  dance  is  repeated. 


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There  is  only  one  fignre  in  this  dance.  The  first  part  of  it  is  the  same  as  the 
second  figure  in  the  schottische,  that  is,  the  gentleman,  with  right  arm  around  the  lady's 
waist  and  her  right  hand  iu  his  left  (the  lady's  left  arm  on  gentleman's  right  shoulder), 
turns  while  advancing,  passing  the  lady  in  front  of  himself,  first  with  three  schottische 
steps  quarter  of  a  turn  to  left  (l),  then  three  more  schottische  steps  quarter  of  a  turn  to 
the  right  (2).  In  the  latter  part  of  the  figure  the  gentleman  releases  his  partner's 
right  hand,  while  he,  with  two  wulkinij  steps,  turns  a  complete  circle  to  the  right,  and 
with  the  right  arm  still  remaining  around  the  lady's  waist,  lifts  her  over  back  to  her 
place  at  the  same  time  that  he  turns  (3).  After  which  both,  with  free  hands  on  hips, 
take  two  walking  steps  forward  (4)  and  repeat  the  whole  figure  (5-8). 


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THE   SNURRBOCK 

Music  ||  1-8  ||  9-16  ||  17-19  || 

Gentleman  places  both  hands  at  his  partner's  waist,  lady  places  both  hands  on 
gentleman's  shoulders,  arms  nearly  straight.  Couple  dances  polska  resembling  the 
Hamho  polska,  but  differing  from  this  in  that  the  dancer  without  previous  bending  of 
right  knee  places  left  foot  on  the  floor  on  the  first  quarter-note  of  the  measure  and  then 
turns  on  the  toes  of  this  foot  without  support  of  right  foot  (1-8).  Gentleman  and  lady 
then  face  forward,  gentleman  placing  his  right  arm  around  the  lady's  waist,  lady  plac- 
ing her  left  hand  on  gentleman's  right  shoulder,  free  hands  on  hips,  both  run,  common 
running  steps  forward  in  time  to  music  (9-16).  They  then  face  slowly  toward  each 
other  and  with  both  hands  on  hips  make  a  deep  bow  (17);  then  both  slowly  face  about 
to  the  left,  make  another  bow  as  they  are  turned  back  to  back  (18),  again  face  about, 
bow  (19),  after  which  the  dance  is  repeated  in  the  original  livelier  time. 


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GUSTAVUS   TOAST 

MC81C  ||  :l-8:  ||  :9-16:  || 

Formation.  Four  couples  form  a  square,  the  premiere  to  left  and  right,  and  the 
seconds  front  and  rear,  all  as  seen  from  the  front.  The  gentlemen  hold  the  left  hands 
of  their  partners  in  their  right  hands,  free  hands  on  hips. 

(A)  The  premiere  couples  walk  four  steps  toward  each  other,  bow  (1-2),  and  re- 
turn backward  with  four  steps  to  their  places  (3-4).  The  seconde  couples  dance  in  the 
same  way  (5-8).     Repeat  (1-8). 

(B)  The  seconde  couples  form  an  arch.  The  gentlemen  of  the  premiere  walk  to- 
ward the  arch  on  their  left  and  their  partners  toward  the  arch  on  their  right;  the  gen- 
tlemen take  the  left  hands  of  the  ladies  they  meet  in  their  own  right  hands  and  walk 
through  the  arch:  then  all  turn  and  walk  to  their  own  places  (9-12).  The  gentle- 
men clap  their  hands  once  and  the  couples  dance  around  in  place  with  Swedish  polka 
>t-j>s,  partners  holding  each  other's  hands  (13-16).  The  premiere  couples  form  arches 
and  the  seconde  couples  dance  as  the  premiere  couples  danced  before  (9-16). 


;-j— m~i 


^S 


CLAP  DANCE 

Music  1 1 : 1-8  : 1 1  : 9-16 : 1 1 

Formation.  The  couples  place  themselves  behind  each  other,  forming  a  ring, 
gentlemen  holding  the  left  hands  of  their  partners  in  their  right  hands,  free  hands 
on  hips.  (A)  The  couples  dance  forward  with  schottische  steps,  the  gentlemen  begin, 
ning  with  left,  the  ladies  with  right  feet,  alternately  turning  to  and  from  each  other 
(1-8),  then  dance  Swedish  polka,  after  which  the  couples  stop,  facing  each  other,  the 
gentlemen  inside  of  the  ring  (1-8). 

(B)  The  gentlemen,  with  their  hands  on  their  hips,  bow  to  the  ladies,  who  at  the 
same  time,  with  hands  on  hips,  make  a  courtesy  to  their  partners  (9),  then  both  clap 
their  hands  three  times  (10).  This  is  repeated  (11-12),  after  which  partners  clap  each 
others'  right  hands  once,  then  their  own  hands  once  (13),  then  the  palms  of  their  left 
hands,  followed  by  clapping  of  their  own  hands  (14),  turn  completely  around  to  left 
(15)  and  stamp  on  the  floor  three  times  (16).  (B)  is  repeated  with  the  difference  that 
instead  of  partners  clapping  each  others'  hands,  they  shake  the  index  finger  of  the 
right  hands  three  times  warningly  at  each  other,  then  the  index  finger  of  the  left 
hands,  after  which,  when  they  turn  around,  they  slap  each  others'  right  hands  (9-16). 
While  shaking  the  finger  the  elbow  rests  on  the  closed  hand  of  the  opposite  arm, 
which  is  bent  across  the  chest.  The  dance  is  repeated,  when  each  gentleman  first 
steps  backward  instead  of  forward  and  continues  the  dance  with  the  lady  of  the  couple 
next  behind. 


9 
THE  SKOBO  DANCE 

(danced  by  men  only) 

Music  ||  1-16  ||  17-32  ||  Very  slow  legato. 

Figure  1.  A  and  B  take  each  other's  hands  and  dance  around  to  the  right,  three 
common  walking  steps,  beginning  with  left  foot  (1),  after  which,  at  the  beginning  of 
the  second  measure,  they  stop  with  an  appel  of  the  right  foot  and  remain  in  the  posi- 
tion they  assumed  at  the  appel.,  as  if  they  were  doubtful  about--6Qntinuing  the  dance 
(2).  This  is  repeated  three  times  (3-8),  after  which  the  couple  in  the  same  way  dances 
around  to-  the  left,  this  time  beginning  with  the  right  foot  and  making  an  appel  on  the 
left  (9-16).  During  the  whole  of  the  first  figure  the  dancers  appear  to  be  hesitating 
and  doubtful;  during  the  second  figure  they  are  more  decided. 

Figure  2.  The  gentlemen  let  go  of  hands  and  turn,  beginning  with  left  foot, 
three  steps  completely  around  to  the  right  (17),  then  A  quickly  kneels  on  the  right 
knee,  while  B,  placing  his  right  foot  on  the  floor,  swings  his  left  foot  to  the  right  over 
As  head  (18).  Then  turning  as  before  (19),  B  kneels  and  A  swings  his  left  foot  to 
the  right  over  B's  head  (20).  They  again  turn  to  the  right  (21),  and  then  bend  for- 
ward so  that  their  foreheads  touch  (22).  Finally,  they  turn  with  three  steps,  one 
half-turn  to  the  right,  so  that  their  backs  touch  (23),  after  which  with  a  forcible  push 
they  step  apart  (24).     Repeated  (25-32). 


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VARSOVIENNE 

Mysic  ||  1-8  ||  9-16  ||  17-84  || 

Formation.  The  gentleman  places  his  right  arm  around  the  waist  of  his  part- 
ner, the  lady  her  left  hand  on  his  right  shoulder,  both  facing  in  the  same  direction, 
free  hands  on  hips. 

(A)  Dancing  schottische  steps,  gentleman  left,  lady  right  foot,  the  gentleman 
swings  his  partner  over  to  his  left  side  and  places  his  left  arm  around  her  waist,  free 
hand  on  hip  (1),  after  which  he  places  the  heel  of  his  right  and  the  lady  the  heel  of 
her  left  foot  on  the  floor  with  toes  raised  (2).  Dancing  sckottische  steps,  gentleman 
right,  lady  left  foot,  the  gentleman  swings  his  partner  over  to  her  starting  position  (3), 
after  which  he  places  the  heel  of  his  left  and  she  the  heel  of  her  right  foot  on  the  floor 
with  toes  raised  (4). 

Repeat  (5-8). 

(B)  The  couples  dance  polka-mazurka,  gentleman  left,  lady  right  foot  (9-10), 
after  which  the  gentleman  in  the  same  manner  as  described  above  swings  his  partner 
over  to  his  left  side  (11)  and  the  gentleman  places  the  heel  of  his  right,  the  lady  the 
heel  of  her  left  foot  on  the  floor  with  the  toes  raised  (12).  Again  they  dance  polka- 
mazurka,  gentleman  right,  lady  left  foot  (13-14),  after  which  the  gentleman  swings  his 
partner  over  to  her  starting  position  (15)  and  he  places  the  heel  of  his  left,  she  the 
heel  of  her  right  foot  on  the  floor  with  toes  raised  (16). 

(C)  Old  Swedish  waltz,  during  which  the  gentleman  places  his  right  arm 
around  the  waist  of  his  partner,  and  with  her  right  hand  in  his  left  holds  his  arm  out 
horizontally  (17-24). 


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13 
THREE  MEN  POLSKA 

Music  ||  :l-8:  ||  :9-16:  || 

Formation.  Three  parallel  lines  forming  right  angles  with  the  front  of  the 
stage,  the  two  outer  facing  each  other  and  the  middle  line  facing  the  right  line  as  seen 
from  the  front,  a  gentleman  with  two  partners  in  each  line,  about  four  steps'  distance 
between  the  lines.     The  gentlemen  hold  the  hands  of  their  partners,  arms  half  raised. 

Steps.  Common  running  steps,  beginning  with  left  foot;  when  dancing  around, 
Ostgota  steps. 

Hand.  Free  hand  on  hip.  When  dancing  around,  the  gentleman  places  both 
hands  at  his  partner's  waist  and  she  places  both  hands  on  his  shoulders.  The  dancers 
place  themselves  in  position  during  the  first  eight  measures  of  the  music  (1-8). 

(A)  The  middle  line  and  the  line  on  the  right  advance  toward  each  other  with 
three  steps  (l)  and  halt  with  appel  (2),  then  return  backward  with  three  steps  to  their 
places  (3).  The  gentleman  in  the  middle  line  releases  his  ladies'  hands  and  all  three 
face  about  (4).  Those  in  the  middle  line  again  take  hands,  and  with  the  line  on  the 
left  advance  toward  each  other  with  three  steps  (5),  halt  with  appel  (6),  and  return 
backward  with  three  steps  to  their  places  (7),  when  the  middle  line  faces  about  in  the 
same  way  as  described  above  (8). 

(B)  The  gentleman  of  the  middle  line  runs  three  steps  toward  the  lady  of  the 
right  line,  who  stands  on  the  left  side  of  her  partner  (9),  makes  three  appels  with  both 
feet  at  the  same  time,  the  first  time  with  right,  the  second  time  with  left,  and  the 
third  time  with  right  foot  in  front  (10-12).  Then  he  dances  around  two  turns  with  her 
(13-16).  After  this  he  runs,  beginning  with  left  foot,  three  steps  to  the  lady  of  the  left 
line,  who  stands  on  the  left  side  of  her  partner  (9);  makes  three  appels  (10-12),  dances 
around  with  her  two  turns,  observing  that  at  the  end  of  the  dancing  around  he  moves 
somewhat  toward  his  place  (13-16).  Still  holding  the  lady's  right  hand  in  his  left,  he 
takes  with  right  hand  the  left  lady  of  the  right  line  and  dances  in  a  ring  with  both  a 
couple  of  turns  in  his  own  place,  at  the  same  time  that  the  two  other  gentlemen  dance 
in  a  ring  with  the  ladies  on  their  right  and  the  one  to  the  right  of  them  in  the  middle 
line.     After  this  all  return  to  their  places  (1-8).     (A)  is  repeated  (1-8). 

The  gentleman  in  the  middle  line  dances  in  the  same  manner  as  described  in 
(B),  first  with  the  right  lady  of  the  right  line,  then  with  the  right  lady  of  the  left  line 
(9-16;  9-16),  and  then  dances  in  ring  with  both,  at  the  same  time  that  the  other  two 
gentlemen  dame  in  a  ring  with  the  ladies  on  their  left  and  the  one  to  the  left  of  them 
in  the  middle  Una     After  this  all  return  to  their  places  (1-8).     (A)  is  repeated  (1-8). 

Tin-  gentleman  in  the  middle  line  dances  in  the  same  manner  as  described  in 
(B),  first  with  the  partner  on  his  right  and  then  with  the  one  on  his  left  (9-16;  9-16), 
and  then  dances  in  ring  with  them.  At  the  same  time  the  other  two  gentlemen  dance 
in  ring  with  their  partners.  After  this  all  return  to  their  places  (1-8).  (A)  is  re- 
peated (1-8). 

The  gentleman  dances  as  described  in  (B),  first  with  the  gentleman  of  the  right 
line,  and  then  with  the  gentleman  of  the  left  Unfl  (9  16;  9-16);  after  which  the  three 
dance  in  a  ring,  each  gentleman  placing  his  right  arm  over  the  left  arm  and  behind 
the  back  of  the  gentleman  on  his  right,  taking  with  Ins  right  hand  the  left  hand  of 
the  gentleman  OB  his  left.  At  the  same  time  all  the  ladies,  holding  each  others'  hands, 
dance  in  ring  twice  around  the  gentlemen  (1-8). 


14 


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15 
THE  OXEN  DANCE 

This  dance,  most  suited  for  men,  had  its  origin  in  the  beginning  of  the  last  century,  when  at  the  college 
in  Karlstad,  Sweden,  the  freshmen,  nicknamed  "Oxen,"  were  made  to  perform  the  dance  before  the 
sophomores.     Hence  the  name  Oxen  Dance. 

Mcsio  1 1 1-S 1 1  9-16  1 1  17-24  || 

Formation.  The  dancers  (A  and  B)  stand  facing  each  other  about  two  steps 
apart,  hands  on  hips. 

Figure  1.  (A)  At  the  beginning  of  the  second  measure  A  bows  to  B  while  B 
makes  a  deep  courtesy  to  A  (1-2).  At  the  beginning  of  the  fourth  measure,  B  bows 
to  A  while  A  makes  a  deep  courtesy  to  B  (3-4).  Repeat  (5-8).  These  movements 
are  done  slowly.  During  the  measures  (9-16)  the  bows  and  courtesies  are  continued 
in  quicker  time,  one  for  each  measure. 

(B)  A  places  his  closed  hands  on  chest,  elbows  at  shoulder  level,  then  forcibly 
extends  the  arms  sideward,  turns  head  to  the  right  with  a  jerk.  At  the  same  time 
the  right  leg  is  forcibly  swung  sideward  with  straight  knee  while  he  rises  on  the  toes 
of  his  left  foot.  Then  he  takes  a  long  step  to  the  right  and  places  left  foot  beside  the 
right  (17).  (The  right  foot  is  not  placed  on  the  floor  until  the  third  beat  in  the  17th 
measure).  Then  he  takes  another  short  step  to  the  right,  then  stamps  with  left  foot 
twice  beside  the  right  one,  at  the  same  time  he  turns  his  head  forward  and  gradually 
places  hands  on  chest,  elbows  at  shoulder  level  (18).  A  again  extends  his  arms,  turns 
head  to  left,  swinging  left  leg  sideward,  as  described  for  the  right,  then  takes  a  large 
step  to  the  left  and  places  right  foot  beside  the  left  (19)  (the  left  foot  is  not  placed  on 
the  floor  until  the  third  boil  in  the  19th  measure).  Then  he  takes  a  short  step  to  the 
left  and  places  right  foot  beside  the  left,  I  mis  head  forward  and  places  hands  on  hips 
(20).  Repeat  (  81  _'4).  B  dances  in  the  same  way  at  the  same  time  but  begins  to  the 
left  side. 

Figure  2.  (A)  At  the  beginning  of  the  second  measure  lx)th  slide  left  foot 
forward  (1-2).  At  the  beginning  of  the  fourth  measure  both  replace  left  foot  and  at 
the  nine  time  place  right  foot  forward  (3-4).  Repeat  (5-8).  During  the  measure 
(9-16)  the  same  movement  is  continued  but  in  quicker  time,  the  feet  changing  place 
twice  in  etch  measure.     (B)    Same  as  (B)  in  first  figure. 

Figure  8.     (A)     The  dancers  place  right  hands  on  top  of  each  other's  heads, 

far  back.     At  the  beginning  of  the  ■ooond  measure  A  pulls  B's  head  forward  (1-2). 

Then  B  raises  his  head  and  pulls  As  head  forward  at  the  beginning  of  the  fourth 

measure  (8-4).     Repeat  (5-8).     Same  movement  is  continued  in  quicker  time,  pulling 

aii'l  raising  head  twice  during  each  measure  (9-16).     (B)     Same  as  (B)  in  first  figure. 

Figure  4.  (A)  At  the  beginning  of  the  second  measure,  lx>th  turn  with  a 
jump  to  the  left — quarter  circle — so  that  their  right  elbows  touch  (1-2).  At  the  be- 
ginning of  the  fourth  measure,  both  turn  with  a  jump  to  the  right— half  dick  and 
.  h  left  ellKjws  (8-4).  Repeat  (5-8).  Same  movement  is  continued  in  quicker 
time.  Jumping  twice  during  each  measure  (9-16).  At  the  last  jump  the  dancers  turn 
a  quartet  circle,  facing  each  other  a.train.      (Hi  Same  as  i  Hi  in  first  figure. 

FlgureS.  This  figure  may  be  omitted  but  is  placed  here  for  the  sake  of  hi- 
torical  accuracy.  (A)  At  the  beginning  of  the  second  measure  A  sticks  his  fingers 
to  his  nose  to  B.  while  B  graw|w  both  ears  and  stretches  out  his  tongue  to  A  (1-2).  At 
the  beginning  of  the  fourth  measure,  H  sticks  fingers  to  Ins  m.-.-  to  A.  while  A  grasps 
1m>Ui  ears  and  stretches  out  his  tongue  to  H  (3-4).  Repeat  (8  8).  The  same  is  con- 
tinued in  quicker  time  as  in  previous  figures  (9- !•'•).      <  H)  Same  as  (B)  in  first  figure. 


16 

Figure  6.  (A)  At  the  beginning  of  the  second  measure,  A  puts  his  right 
hand  close  to  B's  cheek  as  if  to  give  him  a  box  on  the  ears,  while  B  at  the  same  time 
claps  his  hands  once  down  in  front,  then  replaces  his  hands  on  hips  (1-2).  At  the. be- 
ginning of  the  fourth  measure,  B  puts  his  right  hand  close  to  A's  cheek,  while  A 
claps  his  hands  once  (3-4).  Repeat  (5-8).  Same  movement  is  continued  in  quicker 
time  as  described  in  previous  figures  (9-16). 

(B)   Same  as  (B)  in  first  figure. 


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OSTGOTA   POLSKA 

MUSIC  ||  :1-10:  ||  :ll-20:  || 

Formation.  Eight  couples  form  a  square,  two  couples  on  each  side.  The  sides 
of  the  square  are  named  as  seen  from  the  front;  the  premiere  sides  right  and  left,  the 
seconde  sides  front  and  rear. 

Steps.  Common  running  steps;  chassez  steps  when  specially  indicated ;  Ostgota 
steps  when  dancing  around,  beginning  with  left  foot. 

Hands.  Free  hands  on  hips;  when  dancing  around,  the  gentlemen  and  ladies 
hold  each  others'  hands. 

Figure  1.  The  premieres.  (A)  The  gentlemen  of  the  right  premiere  place  them- 
selves immediately  behind,  and  with  their  hands  on  the  shoulders  of  their  partners, 
at  the  same  time  that  the  ladies  of  the  left  premiere  place  themselves  behind,  and  with 
their  hands  on  the  shoulders  of  their  partners.  All  those  standing  behind  swing  their 
heads  in  time  with  the  music  and  look  forward  alternately  left  and  right  over  the 
shoulders  of  the  ones  standing  in  front  of  them  (1-2).  The  gentlemen  of  the  right  pre- 
miere clap  their  hands  once  and  run  forward,  passing  their  partners  on  their  left  to  the 
ladies  of  the  opposite  side,  who  also  run  forward  to  the  left  of  their  partners  and  take 
each  others'  hands  when  they  meet  their  opposites  (3-4);  dance  around  &  turn  and  a 
half  (5-6);  run  back  to  their  respective  partners,  whose  hands  they  take  (7-8),  and 
dance  around  with  them  Ml  place  (9-10). 

(B)  The  gentlemen  of  the  left  and  the  ladies  of  the  right  premiere  dance  in 
the  same  manner,  and  all  return  to  starting  position  (1-  int. 

The  seconder  dance  in  the  same  way  as  the  premieres,  the  seconde  in  the  front  cor- 
responding to  the  right  premiere  (11-20;  11-20). 

Figure  2.  The  premieres.  The  gentlemen  of  the  right  premiere  and  the  ladies 
of  the  left  premiere  place  themselves  behind  their  jartners  and  dance  six  chassez  steps 
to  the  left  (1-2).  and  return  with  six  chasxe:  steps  to  their  places  (3-4).  The  gentle- 
men of  the  right  premiere  clap  their  hands  once  and  run  forward  as  in  figure  1  (A)  to 
the  opposite  ladies  (5-6),  dance  around  half  a  turn  (7).  run  hack  to  their  respective 
partners,  whose  hands  they  take  (8-9),  and  dance  around  with  them  in  place  (10). 

(B)  The  gentlemen  of  the  left  premiere  and  the  ladies  of  the  right  premiere 
dance  in  the  same  manner  (1-10). 

The  secondes  dance  in  the  same  way  as  the  premieres  (11-20;  11-20). 

Figure  3.  The  premieres.  (A)  All  the  gentlemen  place  left  feet  forward  one 
step  with  apjtel  and  kneel  on  right  knee  with  the  hand  higher  than  the  head,  holding 
the  left  hands  of  their  ladies.  Kach  lady  runs  to  the  right  of  her  partner  one  turn 
around  him  (1-4):  then  runs  over  to  the  opj)osite  side,  making  &  chain  with  the  lady 
she  meets  and  with  her  left  hand  takes  the  raised  right  hand  of  the  gentleman  on  the 
opposite  side  (fi  6),  runs  one  turn  around  him,  starting  to  his  left,  then  the  gentle- 
men resume  standing  positions  (7 -H)  and  dance  around  with  the  ladies  one  turn  in  place 
(9-10). 

(B)  The  gentlemen  kneel  again  and  the  dan,,-  is  repeated  as  described  in  part 
(A)  (1-10). 

The  second i -  dance  in  the  same  way  as  the  -  <  1  1    'JO;  1 1    -jo). 


18 

Figure  4.  (A)  Gentlemen  and  ladies  of  each  couple  take  left  hands,  after 
which  they  dance  an  ordinary  grand  chain,  one  turn,  free  hand  on  hip  (1-8).  After 
this  they  remain  in  their  places  during  the  rest  of  the  reprise,  the  gentleman  and  lady 
of  each  couple  facing  each  other,  all  with  their  hands  on  their  hips  (9-10). 

(B)  The  couples  of  the  premieres  dance,  after  an  appel,  with  six  ckassez  steps 
over  to  the  opposite  side.  The  couples  from  the  left  separate  to  allow  the  couples  from 
the  right  to  pass  between  them  (1-2);  the  couples  of  the  secondes  change  places  in  the 
same  way,  the  rear  couples  separating  (3-4).  The  couples  of  the  premiere  change 
places  again,  when  the  couples  belonging  to  the  right  side  separate  to  allow  the 
couples  belonging  to  the  left  side  to  pass  between  them  (5-6).  The  couples  of  the 
secondes  change  in  the  same  manner,  the  couples  belonging  to  the  front  separating 
(7-8);  each  couple  dances  one  turn  in  its  place,  so  that  they  stop  with  the  ladies  inside 
of  the  square,  forming  an  inner  circle  facing  outward  and  the  gentlemen  an  outer 
circle  facing  inward,  gentleman  and  lady  of  each  couple  facing  each  other,  all  with 
hands  on  their  hips  (9-10). 

Figure  5.  All  the  couples  circle  with  ckassez  steps,  ladies  to  right,  gentlemen 
to  left,  being  careful  to  preserve  the  form  of  a  circle  and  keeping  opposite  partners. 
In  ten  measures  the  couples  should  have  returned  to  starting  places,  after  which  they 
place  themselves  as  described  in  the  latter  part  of  the  fourth  figure  (A)  (11-20). 

(B)     The  same  as  part  (B)  of  the  fourth  figure  (11-20). 

The  dance  is  ended  by  dancing  around  by  couples. 


19 


OSTGOTA    POLSKA 


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SCHOTTISCHE 

Music  1 1  1-8  1 1  etc. 


Steps.     Schottische  steps  and  step-hop-waltz. 

The  gentleman  begins  with  left  and  the  lady  with  right  foot,  unless  otherwise 
specified. 

Figure  1.  The  gentleman  places  his  right  arm  around  his  partner's  waist  and 
she  places  her  left  hand  on  his  shoulder,  free  hands  on  hips.  The  couple  dance  for- 
ward with  step-hop-toaltz  (1-8). 

Figure  2.  The  gentleman,  still  with  his  right  arm  around  the  lady's  waist, 
takes  her  right  in  his  left  hand,  turns  first  a  quarter  turn  left  with  schottische  steps 
(l),  then  quarter  turn  right  (2),  after  which  the  couple  dances  step-hop-waltz  two 
turns  to  the  right  (3-4). 

Repeat  (5-8). 

Figure  3.  The  gentleman  takes  his  partner's  right  hand  with  his  right,  free 
hands  on  hips.  He  dances  forward  with  schottische  steps  first  three  steps  left  (l),  then 
three  steps  to  the  right  (2),  while  his  partner  dances  backward,  first  three  schottische 


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22 

steps  to  the  right,  turning  somewhat  to  the  left  (l),  then  three  schottiscJie  steps  to  the 
left,  turning  somewhat  to  the  right  (2).  After  this  the  gentleman  dances  forward 
step-hop-waltz,  while  his  partner  also  dances  step-hop-waltz  in  front  of  gentleman  and 
under  his  right  arm,  turning  twice  around  to  the  right  (3-4). 

Repeat  (5-8). 

Figure  4.  The  couple  dances  as  in  the  third  figure,  except  that  the  gentleman 
during  whole  figure  has  his  arms  folded,  his  partner's  hands  on  hips  (1-8). 

Figure  5.  The  gentleman,  dancing  schottische  steps  forward,  places  his  right 
arm  around  his  partner's  waist,  free  hand  on  hip,  and  passes  her  over  to  his  left  side, 
so  that  she  is  facing  him  with  her  right  band  on  his  left  shoulder  and  left  on  her  hip 
(l),  then  removes  his  right  arm  from  her  waist,  placing  instead  his  left  arm  around 
her  waist  and  turns  her  to  the  left  one  half -turn  and  releases  her  (2).  The  lady,  who 
thus  is  turned  a  complete  turn  around  during  the  schottische  steps  (1-2),  turns  around 
behind  the  back  of  the  gentleman  another  turn  to  the  left  with  step-hop-ivaltz,  hands 
on  hips  (3),  and  then  dances,  still  with  step-hop-tvaltz,  forward  to  the  right  side  of  the 
gentleman  (4).  The  gentleman,  who  in  the  meantime  has  danced  forward  with  short 
step-hop-waltz  steps  and  arms  folded  (3-4),  when  the  lady  arrives  at  his  side  places  his 
right  arm  around  her  waist,  after  which  the  figure  is  repeated  (5-8). 

Figure  6.  The  gentleman  places  his  left  arm  behind  his  own  back  and  takes 
his  partner's  left  hand,  while  with  the  right  hand  behind  the  lady's  back  he  takes 
her  right  hand  so  that  the  lady's  left  arm  is  above  the  gentleman's  right.  The  whole 
figure  is  danced  with  step-hop-tvaltz. 

(A)  The  gentleman  takes  two  steps  backward  and  turns  a  quarter  of  a  circle  to 
the  left  (l),  then  takes  one  step  forward  in  the  direction  he  then  faces,  and  places  the 
right  foot  forward  and  steps  with  the  heel  of  that  foot  on  the  floor,  the  weight  of  the 
body  still  on  the  left  foot  (2). 

(B)  The  right  foot  is  then  placed  one  step  backward  and  the  gentleman  turns 
a  quarter  of  a  turn  to  the  right,  returning  with  two  steps  forward  to  his  starting-place, 
after  which  the  left  heel  is  placed  forward,  the  weight  of  the  body  on  the  right  foot 
(3-4).  In  the  meantime,  the  lady  follows  her  partner  with  corresponding  steps.  Re- 
peat (5-8). 

Figure  7.  The  gentleman  takes  his  partner's  left  hand  in  his  right  and  kneels 
on  right  knee  with  the  right  arm  raised,  left  hand  on  hip.  The  lady  with  schottische 
steps  dances  one  turn  around  the  gentleman,  starting  to  the  right.  The  gentleman 
then  resumes  standing  position  (1-2)  and  the  couple  dance  forward  with  step-hop-waltz, 
the  gentleman  with  right  arm  around  his  partner's  waist  and  the  lady  with  left  hand 
on  his  right  shoulder,  free  hands  on  hips  (3-4).     Repeat  (5-8). 

Figure  8.  The  gentleman  places  his  right  arm  around  his  partner's  waist,  free 
hand  on  hip,  and  passes  her  with  three  schottische  steps  to  the  left,  over  to  his  left  side, 
the  lady  thus  turning  nearly  a  complete  turn  to  the  left  (l).  The  gentleman  then  re- 
moves his  right  arm  and  passes  the  lady  in  a  similar  way  over  to  his  right  with  his 
left  arm  (2).  Then  he  places  both  hands  on  his  partner's  waist  and  dances  around  with 
her  two  turns  with  step-hop-waltz  to  the  right,  finishing  the  last  turn  by  lifting  her  over 
into  her  place  (3-4).     Repeat  (5-8). 

When  several  couples  dance,  it  is  customary  for  the  dancers  to  form  themselves 
in  a  ring  and  begin  the  dance  simultaneously.  In  the  sixth  figure  it  is  the  custom  for 
all  the  couples  at  the  change  of  front  to  the  left  to  turn  toward  the  center  of  the  ring. 


23 

FRYKDAL  POLSKA 

Music  ||  1-8  ||  9-16  || 

Formation.  Two  parallel  lines  forming  right  angles  with  the  front  and  facing 
each  other,  two  couples  in  each  line;  about  four  steps  between  the  lines.  The  gentle- 
men hold  the  left  hands  of  their  partners  in  their  own  right  hands.  The  order  of  the 
couples  as  seen  from  the  front  is,  in  the  line  to  the  left,  1  and  2,  and  in  the  line  to 
the  right,  3  and  4 ;  the  first  and  third  couples  thus  stand  nearest  to  the  front. 

Steps.  Common  running  steps,  beginning  with  left  foot.  Frykdal  steps  in 
the  ring  dances  and  when  dancing  around.  Kicking  steps  and  fall-out  steps  when  so 
indicated. 

Hand.  Free  hand  on  the  hip.  In  dancing  around,  when  gentlemen  and  ladies 
are  facing  and  a  little  to  the  left  of  each  other,  the  right  arm  is  held  around  the  waist 
of  the  partner  and  the  left  hand  on  the  partner's  shoulder. 

Figure  1.  The  gentleman  of  the  first  couple  and  the  lady  of  the  second  turn 
toward  each  other,  both  couples  form  ring  and  dance  ring-dance  one  turn,  holding 
each  others'  hands  (1-4);  the  gentlemen  then  take  right  hands  with  thumb-grasp.  The 
ladies  take  the  right  hands  of  the  gentlemen  with  their  own  right  hands,  and  the  four 
take  with  their  left  hands  the  right  arm  near  the  shoulder  of  the  one  standing  to  the 
left  and  dance  in  ring  one  turn  (5-8).  After  which  the  couples  dance  around  to  their 
own  places  (9-16).     Third  and  fourth  couples  dance  in  the  same  way  at  the  fame  time. 

Figure  2.  (A)  The  ladies  run  with  six  steps  to  the  gentleman  opposite  to  them, 
and  after  they  have  made  a  right-hand  chain  with  the  ladies  they  meet,  they  take  the 
left  hands  of  the  gentlemen  with  their  own  left  and  run  while  the  gentlemen  turn 
around  once  to  the  left,  six  steps,  one  turn,  around  the  gentlemen,  the  ladies  halting 
immediately  in  front  of  and  with  their  backs  toward  the  gentlemen,  both  hands  on 
hips,  the  gentlemen  standing  close  behind  the  ladies  and  with  both  hands  at  the  ladies' 
waists  (1-4).  After  a  quick  heel-raising,  gentlemen  take  fall-out  steps  as  follows: 
heel  of  left  feet  on  the  floor,  slightly  outward,  toes  turned  to  the  left,  and  lean  to  right 
forward,  right  knee  bent;  at  the  same  time  the  ladies  take  the  same  fall-out  steps  with 
right  foot  to  the  right,  left  knee  bent,  and  turn  backward  toward  the  right,  by  which 
the  gent  Ifin. mi  and  ladies  in  couples  are  half  turned  toward  each  other. 

The  dancers  remain  in  this  jM)sition  during  the  |  of  the  measure,  after  which 
with  another  heel-raising  they  resume  starting  ]x>sition  (5).  Again  fall-out  step,  at 
which  gentlemen,  turning  to  the  right,  place  right  feet  on  floor,  and  the  ladies,  turning 
to  the  left,  place  left  feet  on  the  floor,  after  which  they  resume  starting  position  (6). 
Again  fall-out  step,  gentlemen  placing  left  and  ladies  right  feet  on  the  floor,  resume 
position  (7);  finally,  fall-out  step,  the  gentlemen  with  right  feet  and  the  ladies  with 
left  feet :  i«»-itiun  (8).  The  ladies  run  six  stejw  back  to  their  partners;  after  making 
a  right-hand  chain  with  the  ladies  they  meet,  they  take  their  partner's  left  hands 
with  their  own  left,  run  -i\  ,-teps  around  them  and  halt  with  appel  in  front  of  and 
facing  them  (9-12),  after  which  couples  dance  around  in  place  (13-16). 

(B)  Repeat  (A),  but  this  time  the  gentlemen  and  ladies  change  r61es,  observing 
that  the  gentlemen  during  the  fall Out  steps  keep  arms  folded  (1-16). 

Figure  8.  The  couples  in  each  line  take  hands  and  both  lines  advance  toward 
each  other  with  six  running  stejw.  join  ends  of  lines  (1-2);  witli  six  steps  form  a  circle 
(8-4):  with  six  stej^  form  lines  parallel  with  front(5-6);  six  steps  again,  a  circle  (7-8); 


24 

six  steps  again,  parallel  lines  at  right  angles  to  the  front  (9-10) ;  six  steps  again,  circle 
(11-12);  then  couples  dance  around  to  their  places  (13-16). 

Figure  4.  The  ladies  run  toward  each  other,  holding  in  their  left  hands  the 
right  hands  of  their  partners,  taking  each  others'  right  hands  with  thumb-grasp  so  that 
the  couples  form  a  cross.  The  cross  swings  with  running  steps  around  each  person 
running  forward  (1-8).  Then  the  gentlemen  with  appel  on  left  foot  swing  their  ladies 
one  half -turn  around  to  the  left  and  at  the  same  time  take  each  others'  left  hands  in 
thumb-grasp.  The  cross  then  swings  one  turn  and  a  half  the  opposite  direction  (9-16), 
when  couples  dance  around  to  their  places  (1-8)  and  await  the  end  of  the  reprise  (9-16). 

Figure  5.  The  third  and  fourth  couples  make  an  appel,  turning  toward  the 
front,  form  an  arch  and  dance  with  kicking  steps,  while  the  first  and  second  couples 
form  a  string,  which  is  pulled  through  the  road  (arches)  by  the  lady  of  the  first  couple. 
When  the  gentleman  of  the  second  couple  passes  under  the  arch  of  the  third  couple, 
he  joins  this  couple  with  the  string  by  taking  the  lady's  right  hand  in  his  left,  and  the 
gentleman  of  the  third  couple  joins  afterward  in  similar  manner  with  the  fourth.  The 
lady  of  the  first  couple  leads  the  string  toward  the  place  of  the  second  couple,  after  she 
has  passed  through  the  arch  of  the  fourth  couple;  first  and  second  couples  halt  in 
their  own  places,  turn  toward  the  front  and  dancing  with  kicking  steps  form  an  arch 
through  which  the  third  and  fourth  couples  pass  in  string.  The  lady  of  the  third 
couple  pulls  the  string  toward  the  place  of  the  third  couple,  where  the  third  couple, 
swinging  toward  the  left,  turn  to  the  front  and  while  dancing  with  kicking  steps 
form  an  arch;  fourth  couple  passes  through  this  arch  and  then  forms  an  arch,  dancing 
with  kicking  steps.  In  this  position  the  dancers  continue  with  kicking  steps  until  the 
end  of  the  first  reprise  (1-8),  after  which  the  couples  dance  around  in  place  (9-16). 

Figure  6.  (A)  First  and  second  couples  form  a  ring,  also  third  and  fourth 
couples,  and  dance  in  ring  with  three  Frykdal  steps  one  turn  around  (1-3).  The  gen- 
tlemen of  the  second  and  third  couples  when  they  arrive  at  point  A  (see  figure)  turn 
one  half -turn  to  the  right,  quickly  swinging  their  ladies  backward  half  a  turn,  and 
advance  toward  the  remaining  couple  of  the  opposite  side  (4).  The  second  and  third 
couples  thus  changing  places. 


(B)  First  and  third  couples  dance  in  ring  one  turn,  at  the  same  time  that  the 
second  and  fourth  couples  dance  one  turn  and  a  half  in  ring,  all  with  three  Frykdal 
steps  (5-7).  Gentlemen  of  the  third  and  fourth  couples,  when  they  arrive  at  point  A, 
turn  as  described  above  (8). 

(C)  First  and  fourth  couples  again  dance  in  ring  one  turn  around,  while  sec- 
ond and  third  couples  dance  one  turn  and  a  half  in  ring,  all  with  three  Frykdal  steps 
(9-11).  Gentlemen  of  the  second  and  fourth  couples  when  they  arrive  at  point  A,  turn 
as  described  above  (12). 

(D)  First  and  second  couples  dance  in  ring  one  turn  around,  also  third  and 
fourth  couples,  all  with  four  Frykdal  steps  (13-16);  couples  then  dance  to  their  own 
places  (1-16). 


25 


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THE  SKANSKA  QUADRILLE 


MtTSIC  [ I  :  1-S :  [ |  :9-16:||  :  17-24:  ||  :25-32 : 1 1  :33-40:  || 

Formation.  Premieres  to  left  and  right.  Secondes  front  and  rear,  as  seen  from 
the  front. 

Steps.      Walking  steps  and  step-hop-ivaltz  alternating  at  will. 

Figure  1.  (A)  Large  ring.  All  the  couples  form  the  ring,  the  gentlemen 
turned  from  and  the  ladies  turned  to  the  center,  all  holding  each  others'  hands.  They 
dance  around  in  ring  in  lively  time,  first  to  the  gentlemen's  left  (1-8),  then  to  the 


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gentlemen's  right  (1-8),  after  which,  the  gentlemen  having  returned  to  their  positions, 
place  their  hands  at  their  partners'  waists  and  dance  around  with  them  in  place,  turn- 
ing to  the  right  (9-16). 

(B)  Push.  The  gentlemen  of  the  premieres  take  their  partners'  left  hands  in 
their  right,  after  which  the  couples  advance  with  four  steps  toward  the  opposite  coup- 
les, the  gentlemen  beginning  with  the  left  and  the  ladies  with  the  right  foot  ( 17-18). 
Gentlemen  and  ladies  release  each  others'  hands  and  turn  quickly  about  a  half -turn  on 
the  toes  of  the  foot  in  front,  the  gentlemen  to  the  right  and  the  ladies  to  the  left,  and 
place  immediately,  gentlemen  left  and  ladies  right,  one  foot  ahead  of  the  other  foot, 
after  which  each  couple  hand  in  hand  returns  to  its  starting  place  with  three  steps 
and  again  faces  about  (19-20).  The  seconded  repeat  the  push  the  same  way  as  the 
premieres  (21-24). 


•       ^m.0 m i-m m — •- 


28 

(C)  Balance.  The  gentlemen  and  the  ladiea  of  the  premieres  dance  independ- 
ently of  each  other  toward  ladies  and  gentlemen  of  the  opposite  side,  while  they  stamp, 
turn,  and  make  all  sorts  of  funny  motions  (25-26);  then  they  return  backward  to  their 
places  (27-28).  They  again  go  forward,  passing  each  other,  to  the  places  of  opposite 
sides,  where  they  face  about  (29-32).  Then  they  return  in  a  similar  manner  (each 
gentleman  now  on  the  right  side  of  his  partner)  to  their  own  places  (25-32). 

(D)  Push  is  repeated,  this  time  the  secondes  beginning  (33-36),  then  the  pre- 
mieres (37-40). 

(E)  Balance  by  the  secondes  (25-32:  25-32). 

(F)  Push.     The  premieres  beginning  (33-40). 

Figure  2.  (A)  The  maidens'  ring.  All  the  ladies  form  a  ring  taking  each 
others'  hands,  facing  to  the  center  of  the  ring.  They  dance  around  in  ring  first  to  left 
(1-8)  and  then  to  right  (1-8),  while  the  gentlemen,  remaining  in  their  places,  mark  the 
time  by  clapping  hands  and  stamping  with  right  feet  twice  during  each  measure. 
When  the  ladies  have  returned  to  their  places,  the  gentleman  dance  around  with  them 
to  the  right  in  place,  as  described  in  Figure  1  (A)  (9-16). 

(B)  Push.     The  premieres  beginning  (17-24). 

(C)  Balance.     Danced  by  the  premieres  (25-32:  25-32). 

(D)  Push.     The  secondes  beginning  (17-24). 

(E)  Balance.     Danced  by  the  secondes  (25-32:  25-32). 

(F)  Push.     The  premieres  beginning  (33-40). 

Figure  3.  (A)  The  youths'  ring.  While  the  ladies  remain  in  their  places,  the 
gentlemen  march  with  lively  antics  in  a  circle  to  left  inside  of  the  ladies,  left  hand  on 
hip.  At  the  same  time  they  indicate  the  time  by  beckoning  with  the  right  hand, 
which  is  held  up  with  the  arm  half  raised  and  elbow  turned  toward  the  center  of  the 
circle  (1-8: 1-8).  When  they  have  returned  to  their  places  they  dance  around  with 
their  partners  to  the  right  in  place,  as  described  in  Figure  1  (A)  (9-16). 

(B)  Push.     The  premieres  beginning  (17-24). 

(C)  Balance.     Danced  by  the  premieres  (25-32:  25-32). 

(D)  Push.     The  secondes  beginning  (33-40). 

(E)  Balance.     Danced  by  the  secondes  (25-32:  25-32). 

(F)  Push.     The  premieres  beginning  (33-40). 

Figure  4.  (A)  '  'Each  for  his  own. "  Each  gentleman  places  himself  in  front 
of  and  facing  his  partner,  after  which  both  dance  to  and  from  each  other  with  varying 
motions  (1-8  :l-8).   The  couples  dance  around  in  place,  as  described  in  Figure  1  (A)  (9-16). 

(B)  Push.     The  premieres  beginning  (17-24). 

(C)  Balance.     Danced  by  the  premieres  (25-32 :  25-32). 

(D)  Push.     The  secondes  beginning  (17-24). 

(E)  Balance.     Danced  by  the  secondes  (25-32:  25-32). 

(F)  Push.     The  premieres  beginning  (33-40). 

Figure  5.     Dancing  in  ring  as  in  figure  1  (A)  (1-8:  1-8:9-16). 


29 
WEAVING  DANCE 

(danced  by  eight  couples) 
Mcsic  ||  1-8  ||  9-16  || 

Formation.  Two  lines  facing  each  other  four  steps  apart,  gentlemen  in  one, 
ladies  in  the  other.  The  dancers  in  the  same  line  hold  hauds;  seen  from  the  front, 
gentlemen's  line  is  on  the  right,  ladies'  line  on  the  left.  Couples  number  from  the 
rear.     The  rear  couple  is  number  1. 

Steps.     Common  running  steps,  beginning  with  left  foot. 

Hand.     Free  hand  on  hip. 

Figure  1.  The  lines  make  an  appel,  advance  with  three  small  steps  (l),  halt, 
(2)  return  backward  with  three  steps  to  places  (3-4).  Repeat  (5-8).  Gentleman  and 
lady  of  couple  number  1  run  toward  each  other;  gentleman  takes  lady's  left  hand  in 
his  right,  runs  with  her  between  the  lines  toward  the  front,  where  they  halt,  turning 
toward  each  other,  face  about  (9-12).  Gentleman  takes  lady's  right  hand  in  his  left 
and  both  return  between  the  lines  to  the  rear  and  halt,  turning  toward  each  other, 
face  about  (13-16),  again  run  toward  the  front,  stop  half  way  in  the  center  between 
the  lines  (1-2),  link  right  arms  and  dance  around  one  turn  (3-4). 

(A)  Gentleman  runs  to  lady  number  8;  they  link  left  arms,  dance  around  one 
half-turn  while  his  partner  runs  to  gentleman  number  2,  and  links  left  arm  with  him 
and  dances  around  half  a  turn  (5-6).  Both  again  run  to  each  other,  link  right  arms  and 
dance  around  half-turn  (7-8). 

(B)  The  same  couple,  No.  1,  continues  the  same  as  (A),  but  they  dance 
With  lady  No.  7,  gentleman  No.  3   (9-12). 

(C)         6  "  "    4(13-16). 

(D)        5  "  "5      (1-4). 

(E)  H       "       •;     4  "  "6      (5-8). 

(F)         ■     3  "  "7    (9-12). 

(G)  "      "       M     2  "  M    8(13-16). 

Lamu  Cutuiw 

0  0 

2 
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4 


The  gentleman  takes  his  j>artner'8  left  hand  in  his  right,  and  runs  with  her  to 
original  starting-place.  Both  turn  toward  right  line  and  run,  still  holding  hands, 
toward  the  front,  gentleman  outside,  his  partner  inside  of  the  line,  while  the  gentle- 
men bend  down  as  the  couple  pa.-v-es  and  dap  in  time  t<>  music  (1-4).  Couple  continues 
in  the  name  way  on  Indie*'  -ide  from  front  to  rear  (5-8);  then  after  passing  lady  num- 
ber 2.  run  between  the  lines  to  the  front,  where  they  separate  and  take  places  on 
their  respective  sides  as  the  couple  nearest  to  the  front  (9-12). 


30 

Both  lines  run  three  steps  toward  each  other  and  halt  (13-14).  The  odd  num- 
bered couples  turn  from  the  front  and  the  gentlemen  take  the  right  hands  of  their 
partners  with  their  left,  while  the  gentlemen  of  the  even  numbered  couples  take  the 
left  hands  of  their  partners  in  their  right  and  turn  to  the  front,  the  couples  standing 
so  that  two  and  two  are  facing  each  other.  Couples  then  await  the  end  of  the  reprise 
(15-16). 

Figure  2.  The  odd  numbered  couples  form  an  arch  and  with  appel  take  three 
short  steps  forward,  while  the  even  numbered  couples  with  three  steps  pass  under  the 
arch  so  that  the  couple  change  places.  Then  the  even  number  couples  form  an  arch 
for  the  couple  next  ahead  of  them  and  with  an  appel  run  three  steps  forward  while 
the  odd  numbered  couples  with  three  steps  pass  under  the  arch  (1-2).  In  this  way  the 
dance  is  continued  until  all  couples,  after  having  alternately  formed  an  arch  and 
passed  under  14  times,  have  returned  to  their  places  (3-16).  It  must  be  observed  that 
when  a  couple  during  the  dance  arrive  nearest  to  the  front,  or  farthest  to  the  rear, 
they  face  each  other,  and  wait  one  measure;  then  continue  the  dance  as  follows:  if 
they  last  formed  an  arch  they  now  begin  by  passing  under;  if  they  last  passed  under, 
then  now  form  an  arch. 

Figure  3.  Gentlemen  take  both  hands  of  their  partners  facing  each  other.  The 
gentlemen  of  the  odd  numbered  couples  run  backward  to  the  right  six  short  steps, 
pulling  their  partners  along,  at  the  same  time  that  the  gentlemen  of  the  even  num- 
bered couples,  pushing  their  ladies  backward,  run  six  short  steps  forward  to  the  left, 
so  that  the  odd  numbered  couples  are  on  the  right  side,  others  on  the  left  (1-2).  The 
gentlemen  of  the  odd  numbered  couples  now  run  six  longer  steps  forward  to  the  right, 
pushing  their  partners  backward  while  the  gentlemen  of  the  even  numbered  couples 
with  their  partners  run  six  longer  steps  backward  to  the  left,  which  places  the  even 
numbered  couples  on  the  right,  the  odd  on  the  left  (3-4).  The  dance  is  thus  continued 
during  32  measures,  when  all  couples  again  have  arrived  at  their  starting-places  (5- 
16:  1-16).  It  must  be  observed  that  when  a  couple  during  the  dance  has  arrived 
nearest  front,  or  farthest  to  the  rear,  they  wait  in  that  place  during  two  measures, 
then  continue  the  dance  returning  the  same  way  in  which  they  came. 

Figure  4.  The  gentlemen  still  hold  their  partner's  left  hand  in  their  right, 
and  take  with  their  left  hand  the  right  hand  of  the  lady  nearest  on  their  left  side 
under  her  left  arm.  The  arms  are  raised  and  through  the  road  thus  formed  the  lady 
farthest  away  from  the  front  passes  making  an  appel  on  the  first  step  and  pulling  all 
the  others  in  the  string  through  the  road;  when  she  has  reached  the  front,  she  runs 
from  the  centre  behind  the  right  line  and  pulls  out  the  string  in  a  ring  so  wide  that 
all  the  couples  have  passed  through  the  road  by  the  time  she  returns  to  her  starting 
place.  She  halts  there,  while  her  partner,  still  in  string,  turns  around  half  a  turn 
backward  to  left  under  his  right  arm,  and  resumes  his  place  facing  her,  both  holding 
arms  up  to  form  an  arch  and  leads  forward  the  lady  whose  right  hand  he  holds  in  his 
left  under  the  arch.  This  lady  still  in  string,  raises  both  arms  higher  than  her  head 
and  resumes  her  starting-place  turning  to  the  right  forward  under  her  left  arm.  The 
dance  continues  until  all  return  to  their  places  as  at  the  beginning  of  the  figure.  The 
figure  is  repeated  and  all  then  await  the  end  of  the  reprise. 

Figure  5.  The  couples  again  raise  their  arms  forming  road  through  which  the 
lady  farthest  from  the  front  passes  with  the  others  in  string.  When  all  have  passed 
through,  the  last  gentleman  still  in  string,  runs  toward  the  center  of  the  ring  while 


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the  leading  lady  winds  the  string  around  him.  When  the  string  is  all  wound  up,  all 
raise  their  arms  and  the  gentleman  in  the  center  comes  out  at  a  convenient  place,  and 
pulls  out  the  string  into  a  ring  from  right  to  left,  and  all  dance  thus  in  ring  until  the 
end  of  the  reprise. 

Figure  6.  Gentlemen  link  right  arms  with  their  partners  and  dance  around  two 
turns  during  two  measures,  then  link  left  arms  with  the  next  lady,  dance  around  two 
measures  with  her,  and  continue  thus  from  left  to  right,  until  they  meet  their  part- 
ners, when  they  dance  with  them  first  with  their  arms  linked  two  turns,  and  then  a 
few  turns  around,  holding  hands. 


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82 

FJALLNAS     POLSKA 

Music  ||:  1-8:  ||:9-16:  || 

May  be  danced  by  two  or  more  couples. 

Formation.  Two  lines,  right  and  left  as  seen  from  the  front.  The  gentlemen 
hold  the  left  hand  of  their  partners  in  their  own  right  hand. 

Steps.  Dal  steps,  Bleking  steps,  Pas-de-basque  steps,  common  running  steps, 
special  steps  described  in  the  figures. 

Hand.  Free  hand  on  hip.  When  dancing  around  the  gentleman  places  both 
hands  at  his  partner's  waist  and  the  lady,  both  hands  on  her  partner's  shoulders. 

Figure  1.  (A)  The  couple  run  three  steps  forward,  beginning  with  right 
foot  and  jump,  landing  with  both  feet  on  the  floor  (1-2).  Then  beginning  with  placing 
right  feet  on  the  floor  they  dance  two  Dal  steps  in  place  (3-4);  run  forward  three 
steps,  jump,  landing  with  both  feet  on  the  floor  (5-6).  Then  beginning  with  placing 
the  left  feet  on  the  floor  they  dance  two  Dal  steps  in  place  (7-8). 

(B)  Partners  face  each  other  and  take  right  hands.  They  place  right  feet  on 
the  floor  and  dance  four  Dal  steps  in  place  (1-4);  after  which  with  a  quick  pull,  they 
run  three  steps  in  the  direction  they  are  facing  and  take  a  stride-knee-bend  step  (5-6); 
face  about  with  a  stride-knee-bend  step  and  repeat  the  step  once  more  in  place  (7-8). 

(C)  They  again  run  forward  six  steps  in  the  direction  they  are  facing,  passing 
each  other  and  take  a  stride-knee-bend  step  (9-10);  then  face  about  with  a  stride-knee-bend 
step  and  repeat  the  step  once  more  in  place  (11-12).  Then  they  run  three  steps  toward 
each  other,  the  gentleman  taking  his  partner's  right  hand  in  his  left.  As  they  meet 
they  place  both  feet  on  the  floor  with  a  jump  (13-14).  Facing  their  original  starting 
places,  they  place  right  foot  on  the  floor  and  dance  two  Dal  steps  in  place  (15-16). 
They  run  three  steps  forward  and  place  both  feet  on  the  floor  with  a  jump  (9-10), 
then  placing  left  feet  on  the  floor,  they  dance  two  Dal  steps  in  place  (11-12). 

(D)  They  turn  quickly  half  a  turn  facing  each  other,  take  hands  and  dance 
forward  beginning  with  right  foot,  two  pas-de-basque  steps  (13-14)  and  stamp  in  place 
four  times  (15-16);  again  two  pas-de-basque  steps  beginning  with  left  (1-2),  stamping 
four  times  (3-4).  Then  they  turn  half  a  circle  on  the  heel  of  the  outer  foot  gentle- 
man left,  lady  right,  taking  a  touch  step  to  the  side  with  the  other  foot  once  in  each 
measure  as  they  turn  (5-6).  Then  they  stamp  four  times  in  place  (7-8).  Then  they 
take  two  pas-de-basque  steps  forward  right  side  first  (1-2)  and  stamp  four  times  (3-4); 
again  Wo  pas-de-basque  steps  left  side  first  (5-6)  and  stamp  four  times  (7-8). 

Figure  2.  Partners  face  each  other  and  take  hands.  They  dance  Dal  steps  in 
place  placing  right  foot  on  the  floor  first,  then  left  foot  but  swinging  right  foot  to  the 
right  side;  the  same  to  the  left  (9-12).  Repeat  (13-16).  Then  they  dance  two  long 
Bleking  steps,  beginning  with  left  in  front,  then  two  shorter  quicker  steps,  followed 
by  a  long  step  (9-12).     Repeat  (13-16). 

Figure  3.  The  couples  advance  toward  each  other  with  four  Dal  steps,  right 
foot  being  placed  first.  The  arm  opposite  the  swinging  leg  is  swung  half  bent,  in 
half  circle  forward,  upward  for  each  step  (1-4).  When  the  couples  meet  they  dance 
around  with  the  opposite  lady  one  turn  to  right,  and  then  push  apart  running  three 
steps  backward  and  finishing  with  a  stride-knee-bend  step  in  their  own  places  (5-8). 
Repeat  (1-8). 

Figure  4.  The  gentleman  places  himself  behind  his  partner,  placing  both 
hands  at  her  waist.  The  gentleman  places  left  heel,  toes  raised,  obliquely  forward 
turning  trunk  slightly  left,  leaning  to  the  right.     The  lady,  with  right  heel  on  the 


33 
floor  turns  trunk  slightly  right:  the  gentleman  and  lady  thus  half  face  each  other. 
Then  the  feet  are  changed  and  the  position  reversed  (once  in  each  measure).  This 
is  continued  for  six  measures  (9-14).  During  the  last  two  measures  the  couple  dances 
around  to  the  right,  the  gentleman  still  retaining  his  hold  at  the  lady's  waist  and 
behind  her  (15-16).     Repeat  (9-16). 

Figure  5.  The  couple  turns  back  to  back.  The  gentleman  places  toes  of  right 
foot  sideways  on  the  floor,  once  in  each  measure,  and  the  lady  in  the  same  way,  toes 
of  left  foot.  For  each  step,  the  lady  beckons  invitingly  to  the  gentleman  of  the  oppo- 
site side  who  appears  indifferent  This  is  continued  for  six  measures  (1-6).  During 
the  last  two  measures  all  turn  around  once,  ladies  to  the  left,  gentlemen  to  the  right 
(7-8).  The  same  is  repeated,  with  the  difference  that  the  gentleman  is  now  beckon- 
ing to  the  lady  of  the  opposite  side,  who  in  her  turn  appears  indifferent  (1-6).  The 
dance  is  then  finished  by  the  couples  dancing  a  hambo  polka. 


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34 

GOTTLAND  QUADRILLE 

MUSIC  ||:  1-8:  ||  : 9-24 : 1 1  25-32  1 1  33-40  1 1  41-48  1 1  49-56  ||  57-64  ||  :65-84  :  [| 

Formation.  Two  parallel  lines  facing  each  other,  forming  right  angles  with 
the  front;  four  steps  distance  between  the  lines;  same  number  of  couples  in  each  line; 
gentleman  holds  lady's  left  hand  in  his  right. 

Any  number  may  take  part,  but  as  a  rule  not  more  than  six  couples  in  each  set. 

Steps.  Walking  steps,  jig  steps,  Schottische  steps,  Gottland  steps,  and  certain 
other  steps  described  in  sixth  figure.  At  the  beginning  of  each  figure  the  gentlemen 
place  the  left  foot  first  on  the  floor  and  the  ladies  the  right  foot. 

Hand.     Free  hand  half  closed,  knuckles  on  hip. 

Figure  1.  Couples  form  ring,  ladies  turned  from  gentlemen  toward  the  centre 
of  the  ring.  The  gentlemen  hold  in  their  right  hand  the  right  hand  of  their  part- 
ners, and  in  the  left  hand,  the  left  hand  of  the  lady  nearest  their  left  side.  The 
dancers  walk,  gentlemen  beginning  with  left  foot  and  the  ladies  with  right  foot  15 
steps  in  ring,  ladies  to  left  and  gentlemen  to  right,  at  each  step  swinging  the  arms 
alternately  inward  and  outward  (1-8).  Return  in  same  manner  with  12  steps  (1-6), 
gentlemen  take  both  hands  of  partners,  with  arms  extended  horizontally,  dance  around 
one  turn  to  starting  places  where  couples  form  as  at  first  (7-8).  Walking  steps  all 
through  the  figure. 

Figure  2.  Gentlemen  of  the  right  line  place  left  foot  on  the  floor,  ladies  of  the 
opposite  line  the  right  foot  and  advance  toward  each  other  with  four  steps  (9-10),  four 
steps  back  to  places  (11-12);  again  four  steps  toward,  and  passing  each  other  turn 
half  a  turn  to  the  right,  then  back  four  steps  to  each  other's  places  and  halt  (13-16), 
four  steps  toward  each  other  (17-18),  four  steps  back  (19-20),  four  steps  toward  each 
other  and  passing  without  turning  (21-22).  All  couples  then  dance  around  one  turn  in 
their  places,  gentlemen  placing  left  and  ladies  right  foot  on  the  floor,  each  gentleman 
placing  his  right  arm  around  his  partner's  waist,  holding  her  right  hand  in  his  left 
extended  horizontally  (23-24).  The  ladies  of  the  right  line  and  gentlemen  of  the  left 
line  dance  in  the  same  way  (9-24).     Jig  steps  all  through  the  figure. 

Figure  3.  All  couples  in  each  line  take  hands  and  walk,  the  gentlemen  plac- 
ing left,  and  ladies  right  foot  on  the  floor,  three  steps  toward  each  other,  halt  with 
slight  bow  (25-26);  walk  three  steps  backward  to  place  and  halt  (27-28);  walk  three 
steps  forward,  halt  with  deep  bow  (29-30) ;  return  with  three  quicker  steps  to  places 
where  they  halt  and  resume  original  formation  (31-32).  Walking  steps  all  through 
the  figure. 

Figure  4.  Ladies  place  right  foot  on  the  floor,  walk  three  steps  toward  oppo- 
site line.  At  the  third  step  they  lean  slightly  forward  over  right  leg  and  clap  three 
times  (33-34) ;  turn  left  about,  walk  to  places  and  clap  at  third  step  three  times  in 
front  of  partners  (35-36).  The  ladies  again  turn  toward  the  opposite  line  and  the  gen- 
tlemen  placing  left  foot  on  the  floor,  walk  forward  three  steps,  clap  three  times  (37- 
38),  turn  right  about,  placing  left  foot  on  the  floor,  dance  around  one  turn  with  their 
ladies  with  jig  steps,  as  described  in  second  figure  (39-40). 

Figure  5.  (A)  Gentlemen  place  left,  and  ladies  right  foot  on  the  floor,  and 
the  couples  advance  toward  the  couples  of  the  opposite  line  with  schottische  steps, 
partners  turning  alternately  to  and  from  each  other.  When  couples  meet,  they  pass, 
ladies  inside,  and  continue  to  each  other's  places  (41-42),  where  the  couples  dance 
around  half  a  turn  with  walking  steps,  as  described  in  the  first  figure  (43-44).  Return 
in  the  same  manner  to  their  own  places  and  dance  around  half  a  turn  (45-48). 


35 

(B)  Gentlemen  place  left,  ladies  right  foot  on  the  floor,  dance  around  in  place 
vriihjig  steps,  first  one  turn  with  hands  on  hips  (49-52);  then  one  turn  as  described 
in  second  figure,  then  resume  original  formation  (53-56). 

(C)  Repeat  (A)  (57-64). 

Figure  6.  The  gentlemen  take  the  right  hand  of  their  partners  in  their  own 
right  hand,  and  the  left  hand  of  their  partners  in  their  own  left  hand,  turn  to  the 
right,  so  that  standing  behind  each  other  they  form  a  ring  and  walk,  gentlemen  be- 
ginning with  left,  ladies  with  right  foot  on  the  floor,  seven  walking  steps  forward  in 
a  ring,  making  slight  bow  every  second  step;  halt,  face  about,  without  releasing 
hands.  This  places  the  ladies  on  the  left  side  of  their  partners  (65-68).  Couples  walk, 
gentlemen  beginning  with  right,  and  ladies  with  left  foot  on  the  floor,  eight  walking 
steps  forward  in  ring  and  halt  on  last  step.  Gentlemen  and  ladies  face  each  other  so 
that  the  gentlemen  form  an  inner  outward-facing  ring,  and  ladies  an  outer  inward- 
facing  ring,  with  hands  on  hips  (69-72).  Gentlemen  beginning  with  left,  ladies  with 
right  foot  on  the  floor,  dance  in  place  facing  each  other,  steps  similar  to  jig  steps  with  the 
difference  that  the  foot  which  is  raised  is  swung  with  straight  knee  outward,  ladies 
keeping  hands  on  hips  and  gentlemen  with  elbows  at  shoulder  level,  hands  at  chest, 
closed  and  thumbs  pointing  upward.  Hands  are  raised  and  lowered  in  time  with 
steps  (73-76);  finally,  couples  dance  around  in  place  with  Gottland  steps,  gentlemen 
with  both  hands  at  lady's  waist  ^77— 84).  After  dancing  around,  the  gentlemen  re- 
lease their  ladies  and  the  figure  is  repeated  from  the  beginning,  observing  that  the 
gentlemen  at  the  beginning  of  the  promenade  take  the  first  step  backward  instead  of 
forward,  so  that  they  are  placed  beside  the  lady  of  the  couple  nearest  behind,  with 
whom  they  now  dance  (65-84). 

The  dance  is  intended  to  continue  until  in  this  figure  each  gentleman  has 
danced  with  each  lady. 


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39 
DAL  DANCE 

MUSIC  ||:  1-8:  ||9-16    |  :  17-24 :||  :25-32:|| 

Formation.  The  gentleman  folds  arms:  his  partner  on  his  right  places  her 
left  hand  on  his  right  shoulder  and  her  right  hand  on  hip;  both  facing  front.  Any 
number  of  couples  can  take  part  in  this  dance,  standing  one  behind  the  other  in  one 
or  more  columns. 

Steps.  Dal  steps,  Bleking  steps,  common  running  steps'  beginning  with  left  foot; 
Pas^lt-basque  steps,  beginning  with  right  foot,  stride-knee-bend  steps,  special  steps  to  be 
described  in  the  figures. 

Hands.     The  position  of  the  hands  will  be  described  in  each  figure. 

Figure  1.  Couple  places  right  feet  on  the  floor  and  dances  with  Dal  steps,  turn- 
ing to  the  lady's  side  away  from  the  front  (1-8),  again  turning  toward  the  lady's  side 
back  to  their  starting  place  (1-8). 

Figure  2.  Gentleman  and  lady  face  each  other,  take  hands  and  dance,  placing 
right  feet  on  the  floor,  two  Dal  steps  in  place  (9-10),  after  which  they  execute  pan-cake 
turning,  thus:  holding  hands  they  raise  their  arms  and  turn,  stamping  in  time  to  the 
music  one  complete  turn,  gentleman  to  his  left  and  lady  to  her  right  (11-12). 

Repeat  (13-16). 

Figure  3.  Gentleman  with  arms  folded,  his  partner  with  hands  on  hips,  run 
across  to  each  other's  side,  turn  right  about  facing  each  other  (17-18),  taking  three 
Bleking  steps  (19)  followed  by  a  stride-knee-bend  step  (20).  Again  changing  places 
(21-22),  take  three  Bleking  steps  (23)  and  one  stride-knee-bend step  (24).   Repeat  (17-24). 

Figure  4.  Gentleman  with  arms  folded,  partner  with  hands  on  hips,  place 
right  feet  on  the  floor  and  dance  eight  Dal  steps  toward  each  other  (25-32).  Gentle- 
man takes  his  partner's  hands,  steps  forward  with  right  foot,  then  places  left  foot  half 
a  step  forward  with  toes  raised,  at  the  same  time  that  his  partner  places  right  foot 
half  a  step  forward  with  toes  raised,  toes  of  both  touching  (25). 

(A)  With  a  jump,  the  gentleman  replaces  left  foot  in  starting  place  and  simul- 
taneously raises  right  foot  with  knee  bent.  (B)  He  places  right  foot  half  a  step  for- 
ward with  toes  raised  and  touches  the  raised  toes  of  his  partner's  left  foot,  which  has 
been  placed  in  similar  manner. 

(C)  Couple  remains  in  this  position  until  the  end  of  the  measure  (26).  The 
change  of  feet  is  repeated  as  above  to  the  end  of  the  reprise  (27-32). 

Figure  5.  Lady  with  hands  on  hips  dances  with  two  step-hop-tvaltz  steps  one 
turn  in  pUtce  turning  to  the  left,  while  the  gentleman,  placing  right  foot  on  the  floor, 
dances  with  Dal  steps  circling  around  the  lady  to  her  left,  clapping  his  hands  once 
in  each  measure  (1-8). 

Figure  6.  Couple  executes  pan-cake  turning  (1-2),  then  lady  bends  deeply  for- 
ward, hands  on  hips,  kneels  on  her  right  knee  (8).  The  gentleman  claps  his  hands 
once  and  swings  right  foot. toward  left  over  lady's  head;  then  turns  on  left  foot,  once 
around  to  the  left  and  resumes  position,  while  the  lady  resumes  standing  position  (4). 
Repeated  8  times  (5-8:  9-16).  It  should  be  observed  that  the  couple  while  dancing 
the  figure  gradually  moves  some  steps  away  from  the  front. 

Figure  7.  The  gentleman  takes  a  few  steps  to  the  left  side  and  stops  there, 
arms  folded,  while  his  partner  with  hands  on  hips  <l;u ires  toward  the  front  with  two 
Pa+de-basqu*  steps  (17-18),  three  Bleking  steps  (19),  one  stride-knee-bend  step  (20),  again 
two  Pa+de-iasgve  steps,  beginning  left  (21-22),  three  Bleking  steps  (28),  and  one  stride- 


40 


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knee-bend  step  (24).     She  then  returns  with  step-hop-waltz  slowly  turning  to  her  right 
until  she  reaches  a  place  in  front  of,  and  a  few  steps  distant  from  her  partner  (17-24). 

Figure  8.  The  gentleman  with  his  arms  folded,  and  his  partner  with  hands  on 
hips,  take  a  step  forward  with  left  foot,  knee  slightly  bent,  the  body  leaning  over  on 
the  left  leg  and  the  right  leg  stretched  backward  (25).  Then  they  take  a  step  forward 
with  the  right  foot,  right  knee  slightly  bent,  body  leaning  somewhat  forward  and  to 
the  right,  left  leg  stretched  backward,  toes  pointing  outward,  and  then  take  hands  (26). 
Then  they  place  left  feet  on  the  floor,  one  step  backward  (27),  and  after  turning  around 
to  left  on  left  foot,  with  a  jump  place  right  foot  in  the  place  where  they  started  and 
resume  starting  position  (28).     Repeat  three  times  (29-32:  25-32). 

Figure  9.  Gentleman  and  lady  run  toward  each  other,  link  right  arms  and 
dance  around  one  turn,  free  hands  on  hips  (1-4),  then  dance  around  with  left  arms 
linked  (5-8). 

Figure  10.  Gentleman  with  arms  folded,  his  partner  standing  on  his  right,  her 
left  hand  on  his  right  shoulder  and  right  hand  on  her  hip,  dance  in  place  with  two  Dal 
steps  placing  left  feet  on  floor  first  (1-2).  Then  lady  places  both  hands  on  shoulders 
of  her  partner,  while  he,  with  an  appel  with  left  foot,  places  both  hands  at  the  lady's 
waist  and  lifts  her  over  to  his  left  side  (3-4).  Gentleman  with  arms  folded,  his  part- 
ner with  her  right  hand  on  his  left  shoulder  and  left  hand  on  her  hip,  dance  two  Dal 
steps,  placing  right  feet  first  on  the  floor  (5-6),  after  which  the  gentleman  as  described 
lifts  the  lady  over  to  his  right  side  (7-8). 

Repeat  (9-16). 

Figure  11.  The  lady  takes  a  few  steps  to  the  right  side  and  stops  there  with 
hands  on  hips,  while  gentleman,  placing  right  foot  first  on  floor,  dances  forward  toward 
the  front  with  eight  Dal  steps,  at  each  step  swinging  the  arms  in  front  of  the  chest 
on  the  same  side  as  the  foot  that  is  on  the  floor,  and  the  other  arm  behind  the  back 
(17-24).  Then  he  dances  backward,  still  facing  front,  with  eight  stride-knee-bend  steps  to 
his  partner  (17-24). 

Figure  12.  The  gentleman  takes  his  partner's  right  hand  in  his  right,  her  left 
hand  in  his  left,  after  which  the  lady,  as  the  gentleman  makes  an  appel  with  his  left 
foot,  jumps  to  his  left  side,  facing  the  front  (25).  The  gentleman  then  jumps  in  the  same 
way  over  to  his  partner's  left  side  (26).  The  lady  again  jumps  to  the  gentleman's  left 
side  (27),  and  both  await  the  end  of  the  next  measure  (28).  Then  the  lady  jumps  to 
the  gentleman's  right  side  (29);  he  jumps  to  her  right  side  (30),  and  she  once  more  to 
his  right  side  (31).  After  which  the  gentleman  places  himself  behind  his  partner  with 
both  hands  at  her  waist,  the  lady  with  both  hands  on  hips  (32).  Both  dance,  gentle- 
man placing  right  and  lady  placing  left  foot  on  the  floor,  eight  Dal  steps  in  place. 
In  these  steps  the  swinging  leg  is  not  moved  inward,  only  raised  with  toes  pointing 
outward.  At  each  step  the  gentleman  leans  alternately  to  right  and  left,  and  the 
lady  twists  alternately  to  right  and  left,  both  thus  being  turned  toward  each  other 
(25-32). 

Figure  13.  Hambo  polsha.  The  gentleman  with  both  hands  at  the  lady's 
waist  making  appel  with  right  foot  at  each  measure  (1-8). 


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43 
THE  HALLING 

Music  ||  1-8  ||  9-16  || 

This  is  danced  by  two  gentlemen  who  at  the  beginning  of  the  dance  stand  side 
by  side,  facing  front.  A,  the  left  gentleman,  holds  in  his  right  hand  the  left  hand  of 
B,  the  gentleman  t<>  the  right,  free  hands  on  hips.  As  seen  from  the  front  A  is  on  the 
right  and  B  on  the  left . 

Figure  1.  (A)  A  places  left  and  B  right  foot  forward,  toes  turned  slightly  in- 
ward, the  body  leaning  over  on  the  placed  foot  and  the  forward  knee  slightly  bent. 
The  other  leg,  also  with  knee  slightly  bent,  is  raised  backward  with  foot  at  right  an- 
gle to  the  one  placed  forward.  At  the  same  time  the  hands  that  are  held  are  raised 
backward,  the  arms  nearly  straight.  In  this  position  the  dancers  are  a  little  farther 
apart.  At  the  beginning  of  the  second  half  of  the  measure  the  dancers  make  a  light 
jump  forward,  without  changing  position  relative  to  each  other  (1),  then  they  place 
the  rear  foot  forward  in  the  same  manner  as  the  other  foot,  swinging  the  arms  down- 
ward and  forward,  thus  coming  nearer  to  each  other,  back  to  back.  During  the  last 
half  of  the  measure  they  make  a  light  jump  forward,  without  changing  positions  rela- 
tive to  each  other  (2).  The  couple  then  repeat  these  steps  five  times  toward  the  front 
(3-7),  then  both,  half  facing  each  other,  place  A  the  right  and  B  the  left  foot  on  the 
floor,  slowly  moving  the  other  leg  sideward  and  both  arms  upward,  hands  released, 
and  stop  in  this  position  when  the  "cadence"  note  is  struck  (cadence  position).  At 
the  end  of  the  "  cadence  "  the  raised  foot  is  placed  beside  the  other  one,  the  dancers 
turning  to  the  front  and  placing  the  thumbs  in  the  arm-holes  of  the  vest  (8). 

(B)  A  raises  simultaneously  the  left  heel  and  the  toes  of  the  right  foot  and 
turns  left  heel  outward,  right  toes  inward,  so  that  the  toes  of  both  feet  point  toward 
each  other;  at  the  same  time  he  raises  his  elbows  to  shoulder  level.  After  this  the 
toes  of  the  left  foot  are  raised  and  the  heel  of  the  right,  and  he  turns,  right  heel  in- 
ward, left  toes  outward,  so  the  heels  come  together,  while  at  the  same  time  he  lowers 
his  elbows  to  his  sides  (9).  A  continues,  all  the  time  facing  front,  to  move  left  with 
two  turnings  on  the  feet  in  each  measure.  After  which,  at  the  end  of  the  reprise,  he 
halts  and  faces  toward  B  (10-16).  B  has  in  the  meantime  in  a  similar  manner  movejd 
toward  the  right,  both  thus  having  moved  apart  on  the  same  line. 

Figure  2.  (A)  The  dancers  glide  on  the  right  foot  slowly  forward  to  the  right, 
left  leg  straight  and  hands  supported  on  the  knees.  At  the  same  time  they  bend  the 
trunk  deeply  over  the  right  knee  half  turned  to  the  left  (l).  Then  the  left  foot  glides 
slowly  a  step  ahead  <>f  the  right,  hands  still  on  knees  and  the  trunk  turning  slowly  to 
the  right,  bending  over  the  left  knee  (2).  Both  continue  in  this  way  five  more  steps 
in  a  wide  circle  to  the  right  to  each  other's  places  (8-7),  then  they  face  each  other  and 
place,  A  the  left  and  B  the  right,  foot  on  the  floor  and  take  "cadence"  position  as 
described  in  the  first  figure  (A)  (8). 

(B)  The  dancers  advance  toward  each  other  with  short  hopping  steps,  two  in 
each  measure,  straight  knees,  feet  parallel  and  closed;  the  hands  are  held  half  closed 
in  front  of  the  chest,  nearly  on  a  level  with  the  shoulders,  elbows  at  sides,  and  index 
fingers  jointing  forward.  The  dancers  mark  the  time  at  each  hop  by  moving  the 
hands  alternately  forward  and  backward  (9-16). 

Figure  8.  (A)  The  daneen  take  hands  and  take  "h/tre"  steps,  that  is,  they 
sink  quickly  down  on  the  heel  of  tin-  left  foot,  at  the  same  time  placing  the  right 


44 

leg  forward,  knocking  the  heel  on  the  floor  (knee  straight) ;  then  without  raising, 
they  quickly  change  position  of  feet  (1),  and  continue  in  this  way  with  two  steps  in 
each  measure  while  they  dance  around  half  a  turn  to  the  right  so  that  A  returns  to  his 
place  on  the  left  of  B  (2-7).  Then  both  stand  in  "  cadence "  position  facing  each 
other  (8). 

(B)  The  dancers  move  slowly  backward  apart  from  each  other,  and  leaning 
backward  kick  forward  first  with  left  foot  and  then  with  right  foot  twice  in  each 
measure  and  swing  their  arms  forward,  upward,  backward,  downward  in  each  measure 
(9-16). 

Figure  4.  (A)  Both  place  hands  on  hips  and  place  the  right  foot  forward  with 
an  appel  (l),  after  which,  turning  a  cart-wheel,  they  change  places  (2),  and  then  fac- 
ing each  other,  remaining  in  their  places,  kick  forward  four  times  with  swinging  of 
the  arms,  as  described  in  Figure  3  (B)  (3-4).  Then  they  again  make  an  appel  with 
right  foot  (5),  and  with  a  "cart-wheel"  returning  to  starting  places  (6),  repeat  the 
kicking  and  arm-swinging  (7-8).  At  the  "cart-wheel"  the  left  hand  is  placed  first  on 
the  floor,  and  the  wheeling  is  done  back  to  back. 

(B)  With  slow  steps,  as  described  in  Figure  2  (A),  they  circle  around  each 
other  to  the  right  so  that  they  are  in  front  of  and  near  each  other,  both  leaning  over 
the  left  leg  and  remaining  in  this  position  while  a  ' '  cadence  "  is  struck  in  the  last 
measure  of  the  music  (9-16). 

Figure  5.  (A)  The  dancers  jump  up  and  take  hands,  then  sink  down  on  the 
heel  of  the  right  foot,  left  leg  is  placed  sideward  with  the  inner  side  of  the  foot  and 
knee  touching  the  floor;  then  make  another  jump  by  forcibly  stretching  the  right  leg 
(1);  then  sink  down  on  the  left  heel  with  the  right  leg  placed  outward.  Again  with 
another  jump  change  position  (2),  and  continue  thus  with  one  step  in  each  measure 
altogether  seven  measures  (3-7),  after  which  they  take  ' '  cadence "  position  facing 
each  other  (8).  These  last  steps  are  called  "sitting1''  steps  and  differ  from  the  "hare1'1 
steps  in  that  the  latter  are  taken  forward  and  are  danced  twice  as  fast  as  the  ' '  sitting  " 
steps. 

(B)  The  dancers  take  hands  and  dance  around  to  the  right  in  such  a  way  that 
at  each  measure  the  right  foot  is  placed  on  the  floor  with  an  appel  and  the  left  foot 
is  swung  in  a  circle  backward  and  outward  to,  and  ahead  of,  the  right  one. 


45 


THE  HALLING 


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46 

VINGAKER  DANCE 

Music  ||:  1-16  :|):  17-32  :|| 

Formation.  Danced  by  one  gentleman  and  two  ladies.  The  gentleman  in  cen- 
tre holding  a  hand  of  each  lady.  At  the  beginning  the  dancers  place  themselves 
facing  the  left,  as  seen  from  the  front  (1-16). 

Steps.  Dal  steps;  when  dancing  around  step-hop-waltz,  or  when  specially  indi- 
cated old  Sivedish  waltz;    Vingaher  steps. 

Hands.     Free  hands  on  hips. 

Figure  1.  All  dance  forward  with  four  Dal  steps  (1-4),  then  gentleman  dances 
four  Dal  steps  in  place,  turns  quarter  of  a  circle  to  the  left  at  the  same  time  the  ladies 
take  the  index  fingers  of  the  gentleman,  turn,  dancing  step-hop-waltz,  one  complete 
turn  around,  the  lady  on  the  gentleman's  right  turning  to  the  left,  and  the  other  lady 
to  right  (5-8).  The  above  is  repeated  three  times.  The  last  time  the  gentleman 
swings  toward  the  left,  so  that  all,  having  danced  a  square  during  the  figure,  at  the 
end  will  be  in  the  centre  of  the  square,  facing  the  front  (9-16: 17-32). 

Figure  2.  The  gentleman  still  dancing  Dal  steps  in  place  takes  with  his  left 
hand  the  left  hand  of  the  lady  on  his  right  and  passes  her  before  him  to  the  lady  on 
his  left.  The  ladies  make  a  chain  with  right  hands  and  change  places  with  Dal  steps, 
after  which  the  gentleman  and  the  left  lady  face  each  other  (17-20)  and  dance  around 
in  place  with  step-hop-waltz  at  the  same  time  the  right  lady,  facing  to  the  front,  dances 
Dal  steps  in  place  (21-24).  The  gentleman  dancing  Dal  steps  in  place  takes  with  his 
left  hand  the  left  lady's  left  hand  and  passes  her  before  him  to  the  right  lady.  The 
ladies  again  make  a  chain  with  right  hands  and  change  places,  dancing  Dal  steps  (25- 
28).  The  gentleman  and  the  right  lady  dance  around  one  turn  in  place  with  step-hop- 
waltz,  then  resume  starting  position  (29-32).  When  dancing  around  the  gentleman 
places  both  hands  at  the  lady's  waist,  and  the  lady  both  hands  on  gentleman's  shoulders. 

Figure  3.  Left  lady  and  gentleman  dance  Dal  steps  in  place  and  form  an  arch 
under  which  the  right  lady  passes,  dancing  Dal  steps,  followed  by  the  gentleman, 
after  which  all  face  to  the  front  (1-8).  The  right  lady  and  gentleman,  while  dancing 
Dal  steps  in  place,  form  an  arch  under  which  the  left  lady  passes  with  Dal  steps,  then 
the  gentleman  passes  the  right  lady  over  to  his  left  side,  so  that  the  ladies  change 
places,  facing  to  the  rear,  all  dancing  Dal  steps  (9-16),  with  which  they  continue,  first 
dancing  from  the  front  four  steps  (1-8)  and  then  toward  the  front  (9-12).  After  this 
the  gentleman  dancing  Dal  steps  in  place  passes  first  the  right  lady,  then  the  left 
lady  back  to  their  respective  places  (13-16). 

Figure  4.  The  gentleman  dances  with  step-hop-waltz,  left  arm  raised  and  right 
hand  on  hip,  one  turn  around  to  the  left,  while  the  left  lady  takes  the  gentleman's 
left  index  finger  and  dances  step-hop-waltz  around  under  the  gentleman's  arm,  turning 
to  the  right,  at  the  same  time  circling  around  the  gentleman,  starting  to  the  right. 
The  right  lady,  turning  to  the  right,  dances  old  Swedish  waltz  one  turn,  circling  around 
the  gentleman,  starting  to  the  right  (17-24).  The  gentleman  then  facing  lady  to 
right  dances  one  turn  around  in  place  with  step-hop-waltz  to  the  right,  right  arm  raised, 
left  hand  on  hip,  while  lady  to  right  takes  his  right  index  finger  and  dances  step-hop- 
waltz  around  under  the  gentleman's  arm,  turning  to  the  left,  at  the  same  time  circling 
around  the  gentleman,  starting  to  the  left.  The  left  lady,  turning  around  to  the 
left,  dances  old  Swedish  waltz  one  turn,  circling  around  the  gentleman,  starting  to  the 
left  (25-32). 


47 

Figure  5.  The  three  form  rinr,,  placing  right  hand  on  right  shoulder  of  the 
one  to  the  right  and  the  left  hand  on  left  shoulder  of  the  one  to  the  left  of  them, 
and  dance  thus  old  Swedish  mtltz  three  times  around  in  place  to  left  (17-32). 

Figure  6.  The  gentleman  kneels  on  right  knee,  the  left  lady  sits  on  his  knee 
and  claps  her  hands  once  in  each  measure,  while  the  right  lady,  turning  to  the  right, 
dances  old  Swedish  n-altz  one  turn,  circling  around  the  gentleman,  starting  to  the 
right  (1-8).  The  right  lady  then  takes  the  place  of  the  left  lady  on  the  gentleman's 
knee  and  claps  her  hands,  while  the  left  lady,  turning  to  the  left,  dances  old  Swedish 
iralte  one  half  turn  around  the  gentleman,  starting  to  the  left  (9-14).  Then  the  gen- 
tleman resumes  standing  position,  hands  on  hips,  facing  front.  The  right  lady  steps 
behind  the  gentleman  and  places  her  hands  on  his  shoulders.  The  left  lady  steps  be- 
hind the  right  one,  plating  her  hands  on  the  right  lady's  shoulders.  The  right  lady 
bends  head  to  right,  left  lady  her  head  to  left,  so  that  the  heads  of  all  are  visible  (15- 
I6)t 

Figure  7.  All  place  the  left  foot  on  the  floor  and  kick  forward  with  the  right 
foot,  dancing  in  place  steps  resembling  step-hop-waltz,  with  the  difference  that  when  the 
feet  are  raised  they  are  swung  with  straight  knee  right  foot  forward,  left  foot  slightly 
backward,  the  body  swaying  forward  and  backward.  The  dancers  move  first  a  few 
[»  backward  (1-8),  then  forward,  when  the  gentleman  faces  about  toward  the  right 
lady  (9-16). 

•  Figure  8.  The  gentleman  and  the  right  lady  dance  ohf  Sire<lish  waltz  in  a  cir- 
cle away  from  the  front,  closely  followed  by  the  left  lady,  who  also  dances  old  Swedish 
waltz,  holding  the  left  index  finger  at  her  mouth,  her  face  expressing  sadness  (17-24). 
Gentleman  and  left  lady  dance  old  Swedish  tea Itz  toward  the  front,  followed  by  the 
right  lady,  who  dances  in  the  same  manner  as  described  for  the  left  lady  (25-32). 
The  figure  i^  repeated,  after  which  the  right  lady  steps  a  little  to  the  left  and  behind 
the  left  lady,  placing  her  hands  at  waist  of  left  lady,  both  turned  to  the  left,  as  seen 
from  the  front,  gentleman  in  front  of  and  facing  them  (17-32). 

•  Figure  9.  Ladies  dance  old  Swedish  waltz  backward,  while  the  gentleman  first 
takes  the  right  hand  of  the  left  lady  in  hisown  right  hand,  and  with  a  step  resembling 
the  Pas-de-basque  step,  swings  his  feet  to  the  right  over  the  lady's  hand,  then  takes 
three  short  steps,  beginning  with  left  foot  (1-2).  takes  lady's  left  hand  with  his  left, 
and  with  another  Pa*-I,-I,a*,pie step  swings  his  feet  to  the  left  over  her  hand,  then 
taken  three  short  steps,  beginning  with  the  right  foot  (3-4).  Left  lady  steps  to  the 
right  behind  the  right  lady,  placing  hands  at  the  right  lady's  waist,  and  the  gentle- 
man takes  in  t lie  same  way  ax  described  above  the  right  lady's  hands  and  swings  his 
(eel  over  them  d-H).  The  right  lady  steps  in  her  turn  to  the  right  behind  the  left 
lady,  and  the  Bgare  is  continued  until  all,  having  completed  a  circle  to  the  right, 
have  again  returned  to  the  front,  when-  the  rlghl  lady  takes  the  left  lady's  right  hand 
in  her  left,  l*>th  facing  left,  as  seen  from  the  front,  the  gentleman  in  front  of  and 
facing  them  (9-16). 

-nre  pi.  The  ladie-  dance  backward  with  step-hop-waltz away  from  the  front 
and  then  toward  the  front,  followed  by  the  gentleman,  who  dances  Vinaaker  steps; 
at  the  end  of  the  figure  they  all  stop,  ladies  facing  the  rear,  gent  Lilian  in  front  of  and 

them  (l 

•ure  11.  The  gentleman  dances,  swinging  his  eoat-tail,  8  steps  backward 
with  Pat  *\*>\m,  while  ladiei  dan...  ,,/,/  Sired  in/,  u-altr.  ixwnx  from   the  front,  right   lady 


48 

turning  around  to  the  right  and  left  lady  turning  to  the  left.  They  pass  each  other 
behind  the  gentleman  and  resume  their  places  on  either  side  of  him,  all  taking  starting 
position  (17-24).  Then  dance  Dal  steps  toward  the  front  (25-28),  where  the  gentle- 
man, dancing  Dal  steps  in  place,  raises  his  arms  and  the  ladies  turn  once  around  un- 
der his  arms  in  the  same  way  as  described  in  the  first  figure.  The  dance  is  finished 
in  such  a  way  that  all,  facing  to  the  front,  place  left  foot  on  the  floor  with  appel  and 
swing  right  foot  forward  (29-32). 


THE  AUTHOR  DANCING  THE  VINGAKER  DANCE 


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50 

THE  SKRALAT 

Music  ||  1-8  ||  9-10  || 

Formation.  Two  parallel  lines  face  each  other  and  forming  right  angles  with 
the  front.  The  lines  stand  about  four  feet  apart,  four  couples  in  each  line,  the  gen- 
tlemen holding  the  left  hands  of  their  partners  in  their  right  hands.  The  couples  are 
numbered,  as  seen  from  the  front,  1-4  in  the  line  to  the  left  and  5-8  in  the  line  to  the 
right.     The  first  and  fifth  couples  thus  stand  nearest  to  the  front. 

Steps.  Skralat  steps,  unless  otherwise  specified;  Dal  steps;  hop  steps  when 
dancing  around;  stride-knee-bend  steps;  certain  steps  especially  described. 

Hand.  Free  hand  on  hip.  When  dancing  around  the  gentleman  places  both 
hands  at  his  partner's  waist,  and  the  lady  places  both  hands  on  her  partner's  shoulders. 

Figure  1.  The  gentlemen  and  ladies  of  the  first  and  second  couples  take  each 
others'  right  hands  with  thumb-grasp  and  dance  around  one  turn  in  place  (1-4),  then 
all  place  their  left  hands  behind  their  backs  and  take  their  partners'  right  hands 
and  dance  around  in  place,  the  first  couple  one  turn  and  a  half,  the  second  couple 
one  turn,  so  that  the  ladies  will  be  placed  in  front  of  each  other  (5-8).  The  gentle- 
men exchange  partners  and  again  dance  around  one  turn,  holding  hands  as  last  de- 
scribed (9-12),  and  change  again  when  the  ladies  have  arrived  in  front  of  each  other. 
Then  they  dance  around  with  their  own  partners  as  described  above,  the  first  couple 
one  turn  and  a  half,  the  second  couple  one  turn,  then  resume  starting  position 
(13-16).  The  couples  3  and  4,  8  and  7,  6  and  5,  dance  simultaneously  in  the  same 
way. 

Figure  2.  During  the  first  24  measures  of  the  figure  (which  contains  in  all  32 
measures)  all  couples  dance  Dal  steps  in  place,  unless  otherwise  specified  below.  All 
the  dancers  in  the  same  line  holding  each  other's  hands. 

The  left  line:  The  lady  of  the  first  couple  places  her  right  foot  on  the  floor  and 
runs  behind  her  partner  (l).  With  her  right  hand  she  takes  the  right  hand  of  the  lady 
of  the  second  couple  (2).  While  the  second  lady  runs  with  9  steps,  turns  to  left,  around 
and  in  front  of  the  gentleman  of  the  first  couple,  and  returning  to  place  continues 
with  Dal  steps,  the  first  lady  runs  in  front  of  the  gentlemen  of  the  second  couple 
toward  the  lady  of  the  third  couple.  She  takes  this  lady's  left  hand  with  her  own 
left  (3-4).  While  the  lady  of  the  third  couple  with  9  steps  runs  one  turn  to  the  right 
behind  and  around  the  gentleman  of  the  second  couple,  and  returning  to  place, 
continues  with  Dal  steps,  the  first  lady  passes  behind  the  gentleman  of  the  third 
couple  to  the  lady  of  the  fourth  couple  and  takes  her  right  hand  with  her  own  right 
(5-6).  While  the  lady  of  the  fourth  couple  runs  one  turn  in  front  of  and  around 
the  gentleman  of  the  third  couple  and  resumes  her  place,  dancing  Dal  steps,  the 
first  lady  runs  in  front  of  the  gentleman  of  the  fourth  couple  and  places  herself  in 
the  line  at  his  left  side,  dancing  Dal  steps  in  place  (7-8). 

The  gentleman  of  the  first  couple  now  places  right  foot  on  the  floor  and  runs 
in  front  of  the  lady  of  the  second  couple  and  with  his  left  hand  takes  the  left  hand  of 
the  gentleman  of  the  second  couple.  The  dance  continues  in  the  same  way  for  the 
gentleman  as  described  above  for  the  ladies,  until  he  comes  to  his  own  partner,  when 
he  places  himself  on  her  left  side,  dancing  Dal  steps  (9-16). 

The  first  couple  forms  an  arch  under  which  the  fourth  couple  passes.  Then 
the  first  couple  passes  under  an  arch  formed  by  the  third  couple,  and  then  form  an 


51 

arch  again  under  which  the  second  couple  passes.  They  resume  their  original 
place  in  the  line,  dancing  Dal  steps  in  place  (1-8).  The  couples  dance  around  in  place, 
after  which  gentlemen  and  ladies  halt,  facing  each  other,  the  gentlemen  inside  of  the 
line  (9-16). 

The  right  line:  The  lady  of  the  eighth  couple  places  her  right  foot  on  the  floor 
and  runs  behind  her  partner,  and  the  dance  proceeds  in  the  same  manner  and  at  the 
same  time  as  for  the  left  line. 

Figure  3.  Gentlemen  and  partners,  holding  each  others'  right  hands,  dance 
eight  Dal  steps  in  place,  at  each  step  alternately  raising  their  right  arms  as  high  as 
the  head  and  again  lowering  them  (1-8).  Then  they  dance  around  in  place  and  resume 
their  starting  position  (9-16). 

Figure  4.  The  dancers  in  the  same  line  take  hands.  The  lines  advance  with 
eight  Dal  steps  toward  each  other  (1-8),  after  which  the  gentlemen  dance  around  with 
the  ladies  of  the  opposite  line,  the  gentlemen  of  the  left  line  to  their  own  places,  and 
the  others  in  the  place  where  they  meet  (9-10).  While  the  couples  in  the  right  line, 
facing  the  same  way  as  before,  take  hands  and  dance  16  Dal  steps  in  place,  the  other 
couples  form  column  facing  to  the  rear  and  dance  with  sixteen  Dal  steps  past  the  eighth 
couple  behind  the  right  line,  then  past  the  fifth  couple,  passing  over  the  first  couple's 
place  back  to  their  starting  places  (1-16).  Then  the  left  line  take  hands  and  dance, 
facing  the  right  line,  sixteen  Dal  steps  in  place,  while  the  couples  of  the  right  line 
form  a  column  facing  to  the  front  and  dance  with  sixteen  Dal  steps,  the  fifth  couple 
leading,  in  a  circle  to  their  left,  then  again  to  their  left  and  return  to  their  places, 
where  they  face  the  opposite  line  and  take  each  others'  hands  (1-16).  The  lines  then 
advance  again  toward  each  other  with  eight  Dal  steps  (1-8),  the  gentlemen  change 
partners  and  dance  around  with  them  to  their  own  places  and  halt,  the  gentlemen  in- 
side of  tlie  line  and  facing  the  ladies  ('.t-16). 

Figure  5.  Partners  simultaneously  raise  the  heel  of  the  left  and  toes  of  the 
right  feet  and  turn  both  feet  to  the  left  a  quarter  of  a  circle,  so  that  the  toes  touch; 
then  they  lift  the  toes  of  the  left  feet  and  turn  them  a  quarter  of  a  circle  outward. 
At  last  they  place  the  right  foot  beside  the  left  one  (1).  This  is  repeated  three 
times,  the  gentleman  and  lady  thus  moving  to  their  own  left  apart  from  each  other 
(2-4),  after  which,  with  four  similar  steps,  they  again  return  to  their  right  and  halt 
In  front  ol  each  other.  When  the  gentlemen  place  toes  touching,  they  also  place  the 
hands  closed  in  front  of  the  cheat,  arms  on  a  level  with  the  shoulders.  When  the 
toes  are  turned  out,  the  arms  half  bent  are  moved  in  a  circle  outward,  hands  still 
clotted  (5-8).  The  couples  now  dance  around  in  />face,  after  which  they  halt,  the  gen- 
tlemen inside  of  the  lines  and  facing  the  ladies  C.i   Hi). 

Figure  •'..  (ieiitlemen  and  ladies  run  to  the  left  of  each  other,  and  when  the 
gentlemen  have  taken  the  left  hands  of  the  ladies,  they  meet  with  their  own  left  hands 
and  with  -i\  itepl  run  p;i.-t  them  (1-2).  They  dance  around  with  the  next  lady  one 
turn  in  place  (3-4).  The  gentleman  and  lady  who  have  just  dona. I  around  run  to  the 
left  of  each  Other  and  the  dance  is  thus  continued,  the  gentlemen  running  to  the  right 

and  the  ladies  to  the  i. -ft.  until  they  have  danced  once  around  the  ring  and  dttn<-<<l 
aniun J  in  place  eight  time*.  They  have  1  hen  returned  \,>  their  starting  places  (0-16: 
l-H 

Figure  ".    The  gentlemen  of  the  righl  line  with  arms  folded  and  the  ladiei  of 

the  left  line  dance  with  two  1>,,I  M.ps  toward  each  other  (1-2),  take  right  hands  with 


52 

thumb  grasp  and  dance  around  with  taree  Dal  steps  one  turn  (3-5).  The  ladies  kneel  on 
right  knee,  with  hands  on  hips,  and  bend  their  heads  forward  very  low  (6).  The  gentle, 
men  with  a  jump  swing  first  the  right,  and  then  the  left,  leg  to  the  right  over  the  heads 
of  the  ladies,  and  all  resume  standing  position  (7).  Gentlemen  and  ladies  face  right 
about  with  a  jump  and  take  one  stride-knee-bend  step  (8).  The  couples  then  dance 
around  in  their  starting  places  (9-16).  The  ladies  of  the  right  line  and  the  gentle- 
men of  the  left  line  dance  in  the  same  way  (1-16). 

Figure  8.     (This  figure  is  difficult  to  dance  and  is  therefore  often  omitted.) 

The  gentlemen  place  themselves  in  front  of  and  facing  their  partners,  holding 
their  hands.  Both  turn  in  place  half  a  turn,  the  gentlemen  to  the  left  and  the  ladies 
to  the  right,  so  that  they  stand  with  backs  touching  and  arms  stretched  upward  (1),  in 
which  position  they  remain  during  one  measure  (2).  The  lady  bends  forward  and  the 
gentleman  backward  over  her,  after  which  the  gentleman,  supported  on  the  back  of 
the  lady,  turns  a  back  somersault  over  the  lady  (3)  and  lands  on  the  floor  in  front  of, 
and  facing  her,  still  holding  her  hands  in  his  (4).  They  again  turn  half  a  turn;  the 
gentleman  repeats  the  last  movement  over  the  lady  and  lands  in  front  of  and  facing 
her,  after  which  both  take  stride-knee-bend  steps  (5-8),  and  dance  around  in  their  places 
(9-16). 

Figure  9.  The  dancers  in  the  same  line  take  hands.  The  gentleman  of  the 
fourth  and  the  lady  of  the  eighth  couples  join  hands,  the  dancers  thus  forming  a 
string  which,  led  by  the  lady  of  the  first  couple,  is  pulled  in  half -circles  over  the  places 
of  the  fifth,  second,  sixth,  third,  seventh,  fourth,  and  eighth  couples  (1-16),  and  then 
in  a  wide  circle  over  the  place  of  the  left  line  forward  to  the  front,  where  in  the  mean- 
time the  last  couple  of  the  string  has  halted,  facing  left  as  seen  from  the  front,  and 
formed  an  arch  (1-8).  The  string  is  now  pulled  under  the  arch  and  in  a  ring  from  left 
to  right  forward  to  the  front,  where  the  first  couple  forms  an  arch  (9-16).  The  gen- 
tleman of  the  fifth  couple  now  pulls  the  string  through  the  arch  and  then  in  a  ring  to 
left  again  forward  to  the  front,  where  all  form  a  ring  dancing  around  from  right  to 
left  (1-16). 

Figure  10.  (A)  The  ladies  take  hands  and  dance  in  a  ring  from  right  to  left, 
while  the  gentlemen,  forming  an  outer  ring,  facing  outwajd,  dance  to  their  left  (1-8). 
When  partners  meet  the  second  time,  they  change  places  with  an  appel  to  the  left  of 
each  other,  so  that  the  gentlemen  holding  each  other  arm  in  arm  form  an  inner  ring 
facing  to  the  center  and  dance  from  right  to  left,  while  the  ladies  form  an  outer  ring 
facing  outward  and  dance  to  their  left  (9-16).  Gentlemen  and  ladies  again  change 
places,  the  ladies  thus  forming  an  inner,  and  the  gentlemen  an  outer  ring,  both  rings 
facing  to  the  center,  and  dance  around  from  right  to  left,  the  gentlemen  observing  that 
they  place  themselves  behind  and  to  the  left  of  their  ladies  (1-8). 

(B)  The  gentlemen,  still  holding  each  others'  hands,  with  arms  raised,  after  an 
appel  take  six  steps  toward  the  center  of  the  ring,  then  lower  the  arms  in  an  arch  for- 
ward, bending  the  trunk  forward.  Then  they  release  each  others'  hands  and,  still  with 
the  trunk  bent  forward,  take  six  steps  backward  to  their  place,  where  they  again  take 
hands.  In  the  meantime,  the  ladies  bend  the  trunk  forward,  after  an  appel  take  six 
short  steps  backward  under  the  arms  of  the  gentlemen.  Then  they  again  take  hands 
and,  with  arms  stretched  upward,  after  an  appel  take  six  short  steps  forward  toward 
the  center  of  the  ring,  where  they,  bending  forward,  lower  their  arms  forward  and  let 
go  of  hands  (9-12).     Repeat  three  times  (13-16;  1-8). 


53 


(C)  The  gentlemen  with  left  hand  grasp  the  right  wrist  of  the  gentleman 
standing  on  their  left;  the  ladies  sit  on  the  gentlemen's  arms  holding  each  others' 
hands  behind  the  gentlemen's  heads,  while  the  gentlemen  dance  in  ring  from  right  to 
left,  in  which  way  the  dance  is  finished  (9-16). 


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